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Das Bunker's chronicle culminated over frustration for lack of venues in the Los Angeles club scene playing innovative and completely electronic (no or little guitars, no cross-over) industrial music back in 1995. Franck H-Bomb noted that the Hollywood scene was saturated with clubs that played a mixer of Gothic, Industrial, and 80s all in one night. There was virtually no representation of industrial venues in the Southern California region of LA. There were also a great number of people in Long Beach and Orange County area who were just as frustrated to drive to Hollywood to hear the same old grind. So Franck approached three friends (Reel Eyes, Wart, and Joe Blonde) with the idea of opening Das Bunker at a local bar, the Que Sera, in Long Beach; thus Das Bunker was born October 22nd, 1996.
Concept Behind the Name
The newly established Collective wanted a name the encompassed the spirit of the club, not one that merely sounded cool. The club's mission was to be a "shelter" where like-minded assembly could come together to escape the trappings of an intolerant society: a type of "sanctuary." Seizing on a passion for history and the military, the Collective was intrigued with the bunkers built in WWII in France and Belgium (Franck's native land) as a line of defense against the opposing forces. It only seemed fitting the name should be "Der Bunker." However, without a desire to plagiarize a club in Belgium with same name, the grammatically incorrect, neutral-form "Das Bunker" was chosen. In proper military fashion, camouflage netting, gas-masks, missiles, chemical barrels, and flags set the mood around the venue.

Innovation in electronic music is the core of the club, specializing in the most poignant of the ground-breaking industrial genre migrating from international borders and the indefinable among the local musicians. Das Bunker is more about spinning obscure artists, locally and abroad, who would otherwise have no other venue to make their presence known to other industrial enthusiasts.

We often refer to ourselves as, "The Collective," meaning the small but growing numbers of like-assembly participating in the club, including both staff and patrons. Das Bunker began with four members, but since has grown to include six active staff members, 1auxiliary staff member, and quite a few patrons assisting where and how they can. All participation is voluntary, with little requirement of monetary gain on anyone's part. We believe the club, and the scene, are not about the acquisition of fortune. It's about pushing on the underground culture to new dimensions, new sounds, new thoughts which can be shared openly with other members of our "family." One's ethnicity and social status means nothing to "The Collective." Only self-expression in will, art, music, and fashion. Our revolution has provoked a resurgence in other industrial related art forms, such as paintings and sculpture.

Expression is the key which unlocks the imaginative dimensions within our movement. Das Bunker strives to be the "Western Front" of the industrial movement. Future plans include an application to the NSK.

The NSK, or Neue Slovenische Kunst (New Slovenian Art) was formed by the members of pioneering industrial band Laibach, as a form of self-expression.

On 20th and 21st of November 1995, at the National Theatre in Sarajevo, Bosnia-Herzegovina, in conjunction with the Obala Art Centre and Radio Zid and the Open Society Institutes of Slovenia and Bosnia-Herzegovina, the NSK groups (Laibach, Irwin, Noordung, New Collectivism, Department of Pure and Applied Philosophy, Retrovision), proclaimed the NSK State Sarajevo (following a similar event in Berlin in 1993: NSK Staat Berlin).

The Volksbühne theater, once among the most prominent theater establishments of the twentieth century, is located in the historical centre of Berlin - the Rosa Luxemburg Platz. Famous names, in terms of culture history, are connected with the place, including Max Reinhardt as the stage manager from 1915 to 1918 and Erwin Piscator from 1925 to 1928. The latter worked with playwright Brecht and stage designer Georg Grosz a great deal. The theater reached the peak of its glory in the seventies when Benn Besson, a French director of Swiss origin and Brecht's student, was stage manager. He had worked in the German Democratic Republic for no less than twenty-five years. Besides Besson, the poetry of the house was tailored by the director team of Manfred Karge and Matthias Langhoff, while Heiner Miller was among the regular participating playwrights. In the 92/93 season, the theater was taken over by the ambitious East German director Frank Castorf who achieved the naming of the Volksbühne as theater of the year by as many as twenty of the forty critics asked. In this way, Volksbühne is expanding the radical and aesthetic tradition of the theater which, in these politicised days, cannot restraint itself to solely performing its function of entertaining. To Castorf, Volksbühne is a place where the viewer must make a stand: either for or against. It was in this theater that Castorf had invited NSK to declare its State territory.
By Laura Garza and Joe Blonde
NSK Information by dj: shad0wdancer<<. Some taken from the NSK page.