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| Taymar Richard Gillmore |
"Hell," as P.B. Shelley wanly admitted, "is a city very much like London," but it's hard to imagine this simile gaining much traction at this year's
Burning Man. The theme for the 2010 installment of the gigantic annual art party held in the Nevada desert was "Metropolis: The Life of Cities," which seemed a heroic conceit as we arrived Friday before the event to the usual ramshackle sprawl of tents, RVs and portable toilets. Some few thousand toolbox visionaries labored through a long weekend of dust, wind, and freakishly cold temperatures to bring it all together.
Black Rock City's gates opened hours early in advance of an anticipated thunderstorm, and revelers drove straight into a swarm of police stopping cars at random for spurious offenses. For feds and local cops alike, the sight of a record 50,000 freakish out-of-state tourists is like rattling a stick inside a long-neglected swill bucket. These woes were plaguing the festival well before my first Burn. This would be my fifth, but, like reelection campaigns and sex comedy, repetition
is farce.
Despite any angst imposed by nature and authorities, there's always some unifying happenstance early on that brings the event into sharp focus, turning a lumpish haul of lip-cracked and skin-blistered civilians into a subculture on a spree, and this year it was the double rainbow after Monday's thunderstorm. As soon as the clouds broke and twin bands of impossibly bright color lassoed across the sky above Black Rock City, people dove into the streets with the giddy fervor of corn farmers saved from drought. One fellow, wits clearly addled by this minor chromatic miracle, ran through Center Camp screaming "What does it
me-e-e-e-an?"
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