Events
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Laura Karpman had prepared an acceptance speech for the She Rocks Awards, where she and 10 other women who have succeeded in various aspects of the music world were honored on Thursday (Jan. 25), but she put it aside and spoke from the heart instead. It was important to convey her reaction to the news, announced just two days earlier, that she is a first-time Oscar nominee for best original score for American Fiction.
“I achieved a dream this week that I thought I would never get,” she told the audience at the Anaheim Convention Center Ballroom in Anaheim, California (and those watching the livestream). “It was so out-of-reach that I stopped myself from dreaming it. I literally suppressed that desire in myself. But I kept working to create inclusion for all kinds of people — and it worked, people, and it’s going to keep working, and I want to be here as an example to you guys that you have to keep working toward your dreams.”
Karpman’s She Rocks award was fittingly dubbed the Dreaming Out Loud Award. She then performed a jazzy selection from the American Fiction score, and even engaged in some scat-singing, riffing: “This moment calls for a celebration/ She got an Oscar nomination.”
The well-produced, fast-paced event was co-hosted by Susanna Hoffs, solo artist and founding member of The Bangles (she performed that group’s hit version of Paul Simon’s “A Hazy Shade of Winter”) and AIJIA, an artist, songwriter and vocal producer, who has worked with Selena Gomez, Anderson .Paak, Mimi Webb and Rachel Platten. AIJIA performed “Tough Love.”
The She Rocks Awards, now in their 12th year, are presented by the Women’s International Music Network, which was founded by music industry veteran Laura Whitmore. In her opening remarks, Whitmore said, “A 2023 global gender gap study by the World Economic Forum uncovered some sobering facts. The pace of progress toward gender equality has slowed. We are back to 2019 levels. According to the study, at the current rate of progress it will take 130 years for gender equity to be achieved. I don’t want to wait that long. Do you?”
Debbie Gibson was introduced by music journalist Lyndsey Parker, who referred to herself as “a card-carrying DebHead,” and noted, “With all due respect to Billie Eilish, Olivia Rodrigo and Taylor Swift, Debbie did it first. She broke barriers for pop music created by girls and for girls. She let future generations like the women I just mentioned – young women with guitars, pianos and pages of diary entries, sitting in their suburban bedrooms – know that they too could make music, hit music, on their own terms, that this wasn’t ‘only in their dreams.’”
Gibson, who received the Trailblazer Award, was just 17 in June 1988 when she topped the Billboard Hot 100 for the first time with “Foolish Beat.” She remains the youngest female artist to write, produce and perform a No. 1 Hot 100 hit.
“This week has been very intense for me,” Gibson said. “Tuesday marked the two-year passing of my late, great ‘momager’ Diane Gibson, who was a trailblazer herself. She was the lone female in the conference rooms at Atlantic Records pounding her first on the table fighting for my creative freedom. When I see Taylor and Billie and Lorde and H.E.R. and all these fabulous females out there doing things on their own terms, I feel like they may not know it, but they owe a debt of gratitude to Diane Gibson. It’s hard to remember when the landscape was not inviting to young girls, because now everyone is looking for the next young girl. Back then, they didn’t know what to do with me.”
Gibson performed her recent song “Legendary,” as well as a medley of her late ’80s hits, including “Only in My Dreams” and “Electric Youth.”
Melinda Newman, Billboard’s executive editor for the West Coast and Nashville, received the Achiever Award. She began her speech by saying, “I am so honored to be in the company of these talented, accomplished women. Unlike them, I can’t write or sing a song that becomes a pop classic or produce records by platinum artists or play an instrument, or get a nomination for an Academy Award — but from an early age, I knew I could tell other people’s stories.”
Newman recounted that when she was all of 11, she sought to get an interview with Lily Tomlin, who was performing in Newman’s home-town of Raleigh, North Carolina. Tomlin declined the request, but that didn’t deter Newman, who worked up questions anyway and snuck backstage. “Lily looked at me, guessed correctly who I was, and gave me the interview,” Newman recalled. “I learned two invaluable lessons that day that continue to serve me well and are crucial to success in any area: always be prepared and be very persistent. I am thankful that every day since that fateful one with Lily, other people let me share their stories. It’s a sacred trust that I don’t take lightly.”
Kelsy Karter, Australian singer, songwriter, musician and frontwoman of Kelsy Karter & The Heroines, received the Spirit Award, and gave a speech that perfectly encapsulated the purpose of the event.
“There is not a woman in this room, I bet, who doesn’t consider themselves a misfit or a rebel or an underdog. There’s not a woman in this room who hasn’t been told ‘no,’ or, ‘You need to change to make it – be sexier, be skinnier, be louder, girls can’t play rock and roll.’” Karter said that she too has faced such resistance, but said she didn’t let it stop her. “I didn’t get into this business to prove anyone wrong – that has just been an added bonus.”
Kelsy Karter & The Heroines performed “God Knows I’ve Tried.” Karter’s powerful vocals and dramatic style recalled Janis Joplin.
Two of the honorees spoke to the need for representation in terms of both gender and race.
Accepting the Vision Award, Lindsay Love-Bivens, artist and community relations manager for Taylor Guitars, candidly said, “I think like many women – and I don’t think it’s just women, I think men struggle with this too – imposter syndrome might creep up in us. We might find ourselves doubting our abilities, our ideas, maybe our places in our workspaces … As a Black woman, I’ve felt that pressure doubly …Fortunately, I have a great support system that reminds me ‘You belong in the rooms you’re in.’”
Love-Bivens also summarized succinctly why representation matters: “When young women and aspiring musicians see people who look like them succeeding, it becomes a powerful affirmation that they too belong.”
Holly G, writer and founder of the Black Opry and Black Opry Records, is among the leaders in the fight to make country music more welcoming to artists and fans of color. “Three years ago, I was just a country music fan who felt isolated and underrepresented by the music that I love – and it was more than a feeling, it is a reality of the format.”
Holly G concluded by saying “I want to reiterate how grateful I am to be here and express that gratitude by continuing to work hard to make sure that the future of country music looks a lot more like the people that are in this room tonight.”
Several of the honorees paid tribute to their parents. Accepting the Excellence Award, Jamie Deering, CEO of Deering Banjos, said “To my father, Greg Dearing, who together with my mother has been so supportive in everything I’ve wanted to do and never once told me I shouldn’t or I couldn’t because I was a girl.”
Deering also charmingly fan-girled and said, “I’m honored to receive this in the same year as Debbie Gibson because I was a huge fan as a kid.” Billie Feather performed “Sister Song” on a banjo to conclude Deering’s segment.
Lindsey Stirling, electronic violinist, dancer, and artist, told of being judged harshly on America’s Got Talent in 2010 (when she was 23). “I was devastated,” she said. “This happened on live television in front of 11 million people. I was so humiliated, but yet my mom was there to give me a hug afterward and tell me that she was proud of me. That’s one of the things that gave me the courage to keep moving.”
Stirling also explained why events like the She Rocks Awards are still needed: “The idea that there’s only so many places for women at the table becomes archaic when women stand together and celebrate one another and we say that if there’s only one chair at this table, ‘I will bring up another one – I will make room.’”
Britt Lightning, lead guitarist for the all-female ’80s rock band Vixen and the musical director at Rock ‘N’ Roll Fantasy Camp, received the Powerhouse Award. She too thanked her parents for encouraging her dreams, a recurring theme of the night. She performed Joe Cocker’s classic blues-rock version of The Beatles’ “With a Little Help From My Friends.”
Sylvia Massy, producer for Tool, System of a Down, Red Hot Chili Peppers and more, received the Groundbreaker Award, and was candid in her remarks: “Working in the studio is very demanding, for a man or a woman, and you just kind of get beaten down by it and the social dynamics of it over time. That’s why it’s important to have support. Groups like She Rocks offer that support.”
Bonnie McIntosh, a classically-trained pianist who has become a keyboardist for Post Malone, Halsey, Kehlani and Selena Gomez, among others, received the Mad Skills Award.
She noted how things have changed for the better for women in the music industry. “The music industry as we all know has always been a boys’ club, especially when I first started [in 2009],” she said. “Being here at the She Rocks Awards, I’m just so grateful to be celebrated among so many different women in the music industry. There is a community here. I didn’t know that existed when I was growing up, so if anyone is watching this who is younger who wants to do this as a job, there is a community here that exists.”
Cassandra Sotos, co-owner and CEO of AmpRx, as well as a violinist and recording artist, received a new award for Female Entrepreneur of the Year — an award that, she announced, will be presented every year.
Guitarist Jimena Fosado and her trio (which also includes Melanie Jo on drums and Lex Wolfe on bass) opened the show with a five-song instrumental set.
The Recording Academy’s Grammy House is returning for a second year with three days of programming targeted to “music makers, culture creators and rising industry leaders.” Grammy House is presented by Mastercard and runs from Thursday, Feb. 1, to Saturday, Feb. 3, in Los Angeles. “I am so excited for this second installment of Grammy […]
Billboard’s annual Power 100 event is back, taking over NeueHouse Hollywood during Grammy Week on Wednesday, Jan. 31. Featured awards presentations will include Executive of the Year, Label of the Year and the Clive Davis Visionary Award. Additionally, as first introduced in 2023, in partnership with Clio Music, the Clio Music Creative Juggernaut Award will […]
The 66th annual Grammy Awards are almost here, and before Music’s Biggest Night takes over the Crypto.com Arena in Los Angeles on Sunday (Feb. 4), this year’s top talent, nominees and more will be spending the week celebrating their achievements at countless parties and events. SZA leads this year’s pack of nominees with nine nods — including […]
Calvin Harris has been tapped as the featured entertainer for the 2024 Pegasus World Cup. One of the premier equestrian events in the world, Pegasus brings together thoroughbred racing with music and entertainment for a day-long, festival-style experience.
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This year’s event takes place Saturday, January 27 at Gulfstream Park in Hallandale Beach, Florida and Harris will hit the stage shorty after the day’s races are complete, performing at Gulfstream’s track-side Carousel Club. Other performers include DJ Tyson O’Brien, and TikTok star and DJ Xandra Pohl, with more to be announced later.
Though he was a headliner at Coachella back in April, Harris has spent most of the year performing in Europe, so Pegasus will mark the DJ’s first major North American appearance in almost nine months (Harris does have a Vegas date at XS Nightclub later this month). Tickets for the 2024 Pegasus World Cup Presented by Baccarat are now on sale at Ticketmaster.com. Prices start at $175 and go up to $1,619. VIP tickets, that get you entry into the Carousel Club to see Harris start at $400.
Pegasus owners The Stronach Group and 1/ST partnered with Palm Tree Crew to curate the entertainment for this year’s event. The music and events collective, founded by Kygo and his manager Myles Shear, also helped to curate the lineup for last year’s edition, bringing out One Republic, Chantal Jeffries and Kygo himself (with a Joe Jonas cameo) for the post-race concert.
In addition to the performances, the 2024 Pegasus World Cup will feature an exclusive viewing area of the horse race for guests of title sponsor Baccarat. Dubbed the “Baccarat Garden at Carousel Club,” the space will include a private bar with drinks served in Baccarat glassware. Baccarat is also the Official Trophy Purveyor for Pegasus, and their crystal “Pegase Horse in Black,” valued at $47,000, will be presented to the Pegasus World Cup Invitational winner.
The exclusive “Flamingo Room,” meantime is a — literally — elevated experience, with Groot Hospitality hotspots Gekkō, Komodo, Papi Steak, Swan, and Casadonna providing food for the day while guests take in the races from a bird’s eye view. Performers in the Flamingo Room will include Harlem-based bandleader and jazz singer Dandy Wellington. Groot Hospitality founder Dave Grutman owns a number of restaurants that are fixtures on the Miami scene, but says he chose “venues [that will] complement the high-energy and lively atmosphere of the race.”
“The Pegasus World Cup continues to redefine the experience of Thoroughbred horse racing by collaborating with partners who exemplify innovation and excellence,” says Belinda Stronach, Chairwoman, Chief Executive Officer and President, 1/ST. “Baccarat, Palm Tree Crew and Groot Hospitality, each leaders in luxury, lifestyle, entertainment, and hospitality, bring unique elements that fuse with 1/ST’s world-class Thoroughbred racing and wagering to create an electric event that is truly Miami!”
“Palm Tree Crew is thrilled to partner with Belinda Stronach and the 1/ST team for the second straight year for the Pegasus World Cup,” said Myles Shear, Co-Founder of Palm Tree Crew. “We are excited to bring our brand, people, vibe, and energy to make the Pegasus the premier luxury sporting and lifestyle event in South Florida.”
Karina S.N. Serio/Eclipse Sportswire/Cal Sport Media
Of course at its core, Pegasus is a horse race, but not just any horse race. The 2024 Pegasus World Cup is one of the most prestigious and lucrative events in thoroughbred racing, with this year’s edition featuring the $3 million Pegasus World Cup Championship Invitational (GI); the $1 million Pegasus World Cup Championship Turf Invitational (GI); and the Pegasus World Cup Filly & Mare Turf Invitational (GIII) with a purse of $500,000.
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Austin City Limits Music Festival launches its three-night broadcast event tonight (Oct. 6) on Hulu. This year’s festival will take place over two weekends: Oct. 6-8 and Oct. 13-15 at Zilker Park in Austin, Texas.
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Headliners include Kendrick Lamar, Foo Fighters, Odesza, Mumford & Sons, The Lumineers, Shania Twain, Alanis Morissette, The 1975 and Hozier. Hulu’s ACL Fest coverage starts at 2:05 ET, 1:05 p.m. CT on Oct. 6, 7 and 8. Headlining performances take place at night.
If you’re not a Hulu subscriber, click below to launch your free 30-day trial to stream ACL Fest for free. The festival streams at no additional charge to subscribers and you can watch from anywhere (TV, computer, smart phone, etc). Hulu offers live access to stream music festivals such as ACL Fest, Bonnaroo and Lollapalooza.
Opening night of ACL Fest will be headlined by Lamar and The Lumineers, the latter of which will stream on Hulu at 10:30 p.m. ET/9:30 p.m. CT. Lamar’s name is not currently listed on the Hulu streaming schedule, but his name appears on the official ACL Festival Lineup and festival schedule (he’s scheduled to perform at the same time as The Lumineers but on a different stage).
Also included on Friday’s streaming schedule: Lil Yachty, Breland, Major Lazers, Portugal the Man and The Revivalists. Foo Fighters and Shania Twain are scheduled to headline on Saturday (streaming at 9:00 p.m. ET/8 p.m. CT). Moriseette, Tove Lo and Thirty Seconds to Mars will perform on Saturday as well. Sunday’s lineup includes Suki Waterhouse, the Yeah Yeah Yeahs, Mumford & Sonos, Labrinth and Hozier. (Click here to learn how to stream ACL Fest internationally.)
Other performers expected to take the stage at ACL Fest 2023 include Noah Kahan, Mt. Joy, Death Grips, M83, Rina Sawayama, Coi Leray, GloRilla, Little Simz, Chromeo, Ivan Cornejo, Becky Hill, Tanya Tucker, Asleep at the Wheel, Morgan Wade, and Jessie Ware.
Catch all the fun live on Hulu here, or, if you want to be there in person, last-minute tickets are available on StubHub, Vivid Seats and other ticketing sites. Pricing ranges from approximately $375 and above, passes for tonight are selling out fast but you can find cheaper tickets for next weekend. Purchase tickets below.
This year’s edition of the long-running Cool Comedy • Hot Cuisine, a fund-raiser for the Scleroderma Research Foundation (SRF), will be a tribute to comedian Bob Saget, who was a long-time SRF board member and co-host of this event.
Saget died in January 2022 at age 65 after suffering blunt head trauma from an accidental blow to the back of his head.
The event will be held on Wednesday, Nov. 8 at 6:30 p.m. at the Edison Ballroom in New York City as part of the 19th annual New York Comedy Festival. Adam Duritz and David Immerglück of Counting Crows are scheduled to perform.
Comedian Jeff Ross will host the event, which will also feature comedians Michael Che and Nikki Glaser. Cool Comedy • Hot Cuisine is co-chaired by celebrity chef Susan Feniger, actress Regina Hall (whose mother was diagnosed with the disease in 2006), and Saget’s widow, Kelly Rizzo.
“I am honored to continue the legacy that Bob built, by working with his closest friends to create an unforgettable night with the same goal that Bob had—to raise as much money as possible for scleroderma research,” Rizzo said in a statement. “Laughter was at the heart of everything Bob did, and Cool Comedy • Hot Cuisine is no exception. We look forward to filling the room full of laughter, all in the spirit of finding a cure.”
At this year’s event, the SRF will debut the Bob Saget Legacy Award, which will honor individuals who have followed in his footsteps by helping raise awareness about scleroderma and funds to find a cure. The inaugural award will be presented to Caroline Hirsch, founder and owner of Carolines and the New York Comedy Festival.
Saget championed the SRF since losing his sister Gay to the disease in 1994. He joined the organization’s board of directors in 2003. However, his involvement actually began in 1991 through the SRF’s annual signature event, Cool Comedy • Hot Cuisine — as an attendee, then the next year as a performer, and ultimately as a key figure in organizing and producing the event.
The SRF has presented Cool Comedy • Hot Cuisine since 1987. The event has been a cornerstone of the SRF’s fundraising efforts, raising more than $29 million to fund research.
Sponsorships starting at $1,000 are now available. A limited number of individual tickets at $750 are also available. For more information, visit www.srfcure.org/cchc.
The Scleroderma Research Foundation (SRF), a 501(c)(3) organization, was established in 1987. Scleroderma is a rare and often life-threatening autoimmune disease that can cause fibrosis in the skin and other vital organs.
Launched in 2004, The New York Comedy Festival is the largest comedy festival in the U.S. This year’s edition will take place from Nov. 3 to 12.
Tuesday night’s (Sept. 12) 2023 MTV Video Music Awards had a little something for everyone, from Olivia Rodrigo‘s explosive “Vampire/Get Him Back!” medley to the night’s emcee, Nicki Minaj, previewing an unnamed Pink Friday 2 track and performing “Last Time I Saw You,” to Karol G‘s neon-drenched “Oki Doki/Ta OK” performance, Doja Cat‘s spooky “Attention/Paint the Town Red” trifecta and the show-closing all-star hip-hop 50th anniversary tribute featuring DMC, Doug E. Fresh, Grandmaster Flash and the Furious Five, LL Cool J, Lil Wayne and Minaj.
The long, long night swung from country to hip-hop, pop, Latin and rock, with Kelsea Ballerini performing the world premiere performance of “Penthouse,” Fall Out Boy playing their updated Billy Joel cover of “We Didn’t Start the Fire,” Shakira‘s mind-bending, hip-shaking medley of hits before accepting her landmark Video Vanguard Award and a strong showing from K-Pop acts Stray Kids (“S-Class”) and Tomorrow X Together with Anitta (“Back For More”).
Peso Pluma represented for Regional Mexican music with an arresting run through his track “Lady Gaga,” NLE Choppa roped in Nelly for a medley of his “Ain’t Gonna Answer” and his take on the St. Louis legend’s “It’s Getting Hot,” while Metro Boomin’ flooded the zone with Future, A Boogie Wit da Hoodie, Swae Lee and Nav for the first broadcast performances of “Superhero (Heroes & Villains)” and “Calling.”
Italian rockers Måneskin returned to the VMA stage with slightly more clothes to rip through their new single, “Honey (Are U Coming?),” while Lil Wayne stacked up his new single, “Kat Food,” with a medley that also featured “Back That Azz Up” and “Uproar” and Global Icon Award winner Diddy presented a medley of his biggest hits, including “I’ll Be Missing You/Bad Boys For Life/I Need a Girl.”
Speaking of killer career overviews, Demi Lovato previewed her new Revamped album, with rocked-up versions of “Heart Attack/Sorry Not Worry/Cool For Summer,” on a night when Cardi B and Megan Thee Stallion performed their new NSFW single “Bongos” live for the first time and Anitta danced across the stage to “Used to Be/Funk Rave/Grip.”
Check out all the night’s main stage performances below.
NLE Choppa feat. Nelly — “Ain’t Gonna Answer/It’s Getting Hot”
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Olivia Rodrigo — “Vampire/Get Him Back!”
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Anitta — “Used to Be/Funk Rave/Grip”
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Lil Wayne — “Back That Azz Up/Uproar/Kat Food”
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Cardi B & Megan Thee Stallion — “Bongos”
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Demi Lovato — “Heart Attack/Sorry Not Sorry/Cool For Summer”
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Doja Cat — “Attention/Paint the Town Red/Demons”
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Shakira — “She Wolf/Te Felicito/TQG/Objection (Tango)/Hips Don’t Lie/Bzrp Music Sessions, Vol. 53”
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Nicki Minaj — “Last Time I Saw You” (plus snippet of unnamed new song)
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Diddy (feat. King Combs, Keyshia Cole)– “Ill Be Missing You/It’s All About the Benjamins/Last Night/Mo’ Money, Mo Problems/Bad Boys For Live/I Need a Girl”
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Stray Kids — “S-Class”
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Peso Pluma — “Lady Gaga”
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Metro Boomin feat. Future, Swae Lee, A Boogie Wit da Hoodie, Nav — “Superhero/Calling”
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Karol G — “Oki Doki/Tá Ok”
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Fall Out Boy — “We Didn’t Start the Fire”
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Tomorrow X Together feat. Anitta — “Back For More”
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Måneskin — “Honey (Are U Coming?)”
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Kelsea Ballerini — “Penthouse”
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Hip-Hop 50th Anniversary Medley feat. Lil Wayne, Nicki Minaj, LL Cool J, Run-DMC, Slick Rick, Doug E. Fresh and Grand Master Flash & the Furious Five
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At around 4 a.m. last Saturday an unusual thing happened at Burning Man. The event, typically an all-hours hubbub of music, art cars, laughter, weeping, whirring bikes, bass drops and other assorted cacophony went silent.
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The only sound was the rain.
The now infamous near-inch of rain that turned the annual desert gathering into global news as it transformed Nevada’s typically bone-dry Black Rock Desert into a gloopy expanse of thick, slippery mud. Mud that stuck to shoes in three-inch slabs. Mud that made it impossible to peddle a bicycle — Burning Man’s primary mode of transportation — or drive any type of vehicle without getting stuck or, worse, slice ruts in the roads making driving difficult once the ground dried. I’ve been to Burning Man eight times — for fun, for adventure, for work. I’d never seen anything like it.
Hoping to save the roads for the mass exodus of 73,000 people that typically happens on Sunday and Monday, a no-driving order was put in place, and everyone was told to stay off the road to the event’s lone gate. (“PLEASE don‘t be that person,” pled the Wet Playa Guide published on the Burning Man website.) No more Burners were let in, and those already on-site were advised not to leave. Some tried to drive away, and those without four-wheel drive and all terrain tires failed. Some, (yes, famously, like Diplo and Chris Rock), got out on foot, walking the six miles from the event site — a seven square mile swath of flat, expansive desert — to the sole paved road that leads back to civilization. Most of us just put on warmer clothes and adjusted to our new reality.
Burning Man festival
Katie Bain
Rumors swirled that we might all be stuck there for a few extra days, or maybe a week, or possibly longer, if it kept raining. The ground would need 12-24 hours after the last rain to become drivable, we were told. The burning of the man — the event’s namesake ritual that typically happens Saturday night before people start heading home — was postponed, as fire trucks couldn’t get to the structure and the wood was too damp to burn. The shuttle service meant to return 20,000 Burners back to Reno and San Francisco was suspended. We were advised to conserve food, water and fuel. Between public service announcements, Burning Man’s FM radio station played Phil Collins‘ “Another Day in Paradise” and, looking at the flooded tents and Burners with plastic grocery bags duct taped around their shoes, one couldn’t help but laugh. Or cry. Or both.
There’s essentially no cell service at Burning Man. The event is made up of hundreds of camps, small settlements serving as temporary homebases to groups of Burners, and while some have Wi-Fi and Starlink, the Burning Man guidebooks notes that is is “highly discouraged.” Burning Man’s much-touted 10 principles — a sort of ethical guide for how to exist at the event — includes “immediacy,” which is of course hard to achieve when doom scrolling or answering emails on one’s phone.
This forced disconnection with the outside world is a feature, creating a sense of presence by cutting Burners off from what many refer to as “default reality.” But as news about what was going on got out, some information also got back in.
“We’re on the front page of CNN,” a fellow camper told me Sunday morning as we gingerly navigated a plywood walkway laid over the gloop. Thanks to (false) rumors about an outbreak on the playa, we heard “ebola burning man” was trending on fellow Burner Elon Musk’s social media platform recently renamed X. We heard Burning Man 2023 was being called “a national emergency,” that FEMA was coming. When I logged onto Wi-Fi at the tent that sells ice, I got 23 texts from family members, friends and colleagues asking if I was safe. If I was scared. If I was OK. “You picked a great year to skip Burning Man,” texted my dad, who was alarmed to then learn I was actually there.
I was there, and I was OK. Generally, we all were. It’s likely people were having breakdowns in the privacy of their tents and RVs as travel plans changed, workdays were missed, and the next few days of our collective existence became a question mark. But also, uncertainty is exciting, and why go to Burning Man but for an unconventional experience? There was a buzz in the air during the hours and days when we weren’t quite sure what would happen — it was sometimes faced with tears and frustration, and other times laughter, dancing and tequila shots.
Burning Man festival
Katie Bain
Every Burning Man tests the mental, emotional and physical limits of its attendees. This year, tickets were unusually easy to get, with many people skipping this go around after calling 2022 their hardest Burn ever. Last year, temperatures hit around 106 degrees, which in comparison made the rain feel like a reprieve. It also — like the extreme heat the year before — demonstrated that the real emergency is the climate crisis. That point was well emphasized by the climate activists that briefly blocked the road into Burning Man as this year’s event started to protest the private jets that shuttle rich Burners in and out of the event and attendees’ prolific use of single use plastic and generators.
The rain did change a few things. The speed of Black Rock City, as the Burning Man site is called, slowed from the swift clip of the electric bikes zipping around the playa to a walking pace. A few parties, talks and DJ sets were interrupted. Art cars decorated like dragons and spaceships stayed parked at their respective camps. A man at a nearby RV suffered a mild injury when some buried cables got wet. (He received medical help immediately and was ultimately fine.) There was also one death at the event that was unrelated to the weather. People who’d planned to leave early (Burning Man typically ends on Sunday) couldn’t. The event’s airport, the hub for those aforementioned private jets, was closed. But no one went into a panic, and no systems broke down, they just adapted.
Meanwhile, the media portrayed it as a disaster. But it never felt that way on the ground. Maybe people were hoping for it in some perverse way. That’s predictable with anything related to Burning Man, though — it’s an event that’s hard to understand and easy to judge among those who’ve never been.
What most Burners know — and what’s probably lost to the outside world amid the hyperbole of drug use and dusty dancing — is that the event is a major test of self-reliance. Tickets only grant access to the access road in and use of the provided porta-potties. Attendees must bring everything else — their own food, water, shelter, garbage bags, you name it. A “survival guide” is sent to all attendees along with their tickets. All programming is conceived of, paid for and hosted by attendees. Taking care of yourself and others is intrinsic to the experience. So while we may have been stuck there longer than expected, after an extra day or two there was little threat of Burning Man going down in flames — or floods. In short: For most of us, besides the threat of missing an extra day of work, we adapted, and we were fine.
“I’m never worried about Burners,” a Bureau of Land Management officer told me in 2021, during the unofficial rogue Burn, which was organized by attendees after the official event was canceled due to the pandemic. “Burners have their sh– together.”
Oh, did I mention my tent flooded? “Communal effort” is among the 10 principles at Burning Man. A nearby RV adopted us, and later the camp rallied to cook up tacos for 200. Minus the momentary silence, a lot of sound camps didn’t stop playing music, and a lot of people never stopped partying. One DJ launched his Saturday afternoon set with “Purple Rain,” attracting a large crowd — many of them wearing just socks on their feet, and many barefoot — that danced in the mud. Those not keen on dancing dropped in on impromptu workshops teaching relaxation breathing techniques. One camp transformed itself into a medical facility. Around the city I was offered water, Gatorade, mezcal, stuffed animals, a popsicle. More than one person observed that if they’d been watching all this on the news, they’d have been disappointed to miss it.
If viewers at home saw tens of thousands of stranded Burners eating tacos and dancing in mud, would they have stopped laughing at us? Probably not. And’s that’s fine. The outside world makes fun of Burning Man because Burning Man is easy to make fun of — especially when 73,000 of us clad in faux fur jackets and shoes with plastic bags duct taped to them are indefinitely trapped in a remote mud pit. It was funny to the people at home, but it was f—ing hilarious to us.
Burning Man festival
Katie Bain
Eventually the parties and events wound down, and after two more showers on Sunday, the rain stopped too. By then, Burners with burly enough trucks and RVs started making their way out, despite the no driving order. If there was discord at the event, it was between the faction that immediately left and those that stayed behind. With “radical self-reliance” as another Burning Man principle, it’s hard to say there was a real right or wrong.
By Monday afternoon, the sun was out, and the roads were dry and deeply rutted in areas, although even the littlest Hondas and Hyundais were leaving with no problems. (“I will not let Burning Man break me!” a woman driving an RV announced out the window as she slowly departed.) Many camps were partially or fully dissembled by the time the man burned Monday night, when the playa had dried enough so that all the art cars were able to surround the burn site, as is tradition. “If we can burn the Man, we have won,” some longtime Burners recalled the event’s late founder, Larry Harvey, often declaring.
It took me 16 hours to get from camp to Los Angeles on Tuesday. By the time I got home, many of the Burners I follow on Instagram were posting about how this year was their favorite ever.
As of today (Friday, Sept. 8), there’s not much left out there in the desert. People who needed to leave early due to the rain are returning to the event site, where they’ll have until Saturday to take apart their projects, tear down their camps and remove their things (an opportunity specific to this year, given the situation). An email update sent yesterday by the Burning Man organization notes that all but one of the vehicles stuck in the mud within the closure area “have been liberated.”
Burning Man doesn’t have a merch stand. While one typically returns home with a few trinkets, it’s cheesy and very Burner-ish but generally also true to say that the real takeaways are the inspiration and the memories. But the experience, mind-blowing the first time, changes you a little less with each outing. One can become inured to the dragons and the spaceships. The rain brought unique challenges that gave the experience fresh opportunities, new forms of fun and renewed potency. It’s hard to call that a disaster.
Wimbledon 2023 wrapped on Sunday (July 16), and the music stars were out in full force to enjoy thrilling matches at the world’s oldest tennis tournament. This year’s Wimbledon Championships, the 136th edition, featured some stunning victories. Twenty-year-old Carlos Alcaraz of Spain won the gentlemen’s singles title, beating renowned tennis star Novak Djokovic of Serbia. […]