writing

Home is a Four Letter Word by Julie Matson

In this world of accessible information, there is attention to consent and the acknowledgement of those that have been historically “othered.”  Many buzzwords have been devised to tackle these colossal recognitions — intersectionality, post-colonialism, decolonization — to list a few. A very important few. I am thrilled that these words are becoming common lexicon, they need to be in order to make sense of the world we live in. I want to disseminate these ideas, within the context of colonial diaspora and post-colonial survival adaptations, and the identity of “home.

My Finnish family immigrated to the Indigenous community of Haida-Gwaii, then known as the Queen Charlotte Islands, a small archipelago of islands off the coast of British Columbia, during the Russian occupation of Finland in the early twentieth century, a timeframe known as the Greater Wrath. It was common for Finnish immigrants to pool to a few specific spots in Canada, where other earlier immigrants first settled. Strength in numbers as they say, or, in reality, where they could communicate with others that spoke the same cumbrous language as they did. Haida -Gwaii was one of these settlements. Maybe because it was equally as remote and as perilous to the ocean’s whims as Finland is. Or perhaps because it was a similarly difficult landscape that was sparsely inhabited. Imaginably there may have been a shared unspoken experience of occupational displacement — Finns, by the Russians and Swedes, Haida, by the West. Although, of course, their Finnish presence would be this point precisely. 

My father was born on this Haida land during the early 1950s in the post-war-baby-boomer, eyes wide shut era. The industry in this area was primarily logging, which my family fell in step with. The island was home to Haida folks and Finnish immigrants. Foreseeably, the gene pools crossed. As a young teen, in secret, he fathered two children with the same mother, an Indigenous Haida woman. These two babies, a girl and a boy, were born a year apart, to two minors, one being caucasian and the other being Indigenous, during the period that is now known in Canada as “The 60s Scoop.” Foresight within their Haida aunties and uncles ‘adopted’ these children into their greater Haida family, and kept them secret from government authorities in order to have them grow up in their rightful home. Being on a remote island off the coast of one of the furthest reaching Canadian provinces helped too. Social Services didn’t frequent this region on the regular, so these babies were kept safe within their community. When the eldest child was only seven years old, their biological mother passed, taking with her the mystery of their father’s identity. There was speculation of their paternity, but between the secrecy of their births, the politics of indigeneity and the naivety of the time, nothing specifically led to the truth. Even the majority of my father’s relatives had no idea.

Keeping the promise of their secrecy until his untimely early death, my father died with this dark silence. This concealment ultimately affected his adult life, communication skills, and ability to create deep familial bonds. He died as an outsider, and my best understanding of him came during the period after his death, while wrapping up his estate. I learned just how lonely he was, how hard it was for him to get close to people and how he used humour to disguise his inability to connect closely with others. He spent much of his life working remotely as a transport truck driver, something that kept him on the road for most of his time.  This job allowed him to tuck away the need for stable home life. It gave him a reason to blot out familial attachments, and an excuse for missing and for creating family traditions.

This heavy secret kept him from knowing a family experience. It kept me from having a relationship that resembled a fatherly one with him. It kept him from knowing what that looked like and how it could be used to make his place in the world. It also kept two other beings in the dark about one half of their blood lineage. This knowledge opens up a world of emotion that can really only be addressed with unconventional methods. It may take a lifetime to discover these methods, if or when we decide to examine them.

What I remember about him are just fragments. I didn’t grow up with him, so there wasn’t a close parental bond. There were random awkward visits, an occasional postcard from the road somewhere, and for a few years, he would get me my monthly bus pass. One Christmas he bought me a lava lamp. Another, he gave me a gift card to Ikea. He came to see my band play once and boasted to anyone that would listen that I was his daughter. One time I took a ride in the cab of his 18-wheeler truck, hovering high above every other car on the road. I only have a few photographs of him, even fewer of us together. The one thing I have of his now is one item I gave to him, partly as a joke, a belt buckle of a truck. He attached it to his favourite belt. He died in this belt. The belt buckle has all the wear and tear of being worn every day, so dying in it seems apt to his obvious appreciation of it.

Each of these memories, scraps of information, and assemblages piece together some notion of “home,” and what that means in the greater context of colonized land, migrant dispersion, family bonds, forced segregation and self-imposed identities of familial responsibilities and outlooks. Without knowing it, I had to face the unconventionality of my early home life, and turn it into something that would give me a base to build on. I left home at sixteen, and similar to my dad, didn’t have the support around me to dialogue my needs to feel safe and looked after, or given the room to explore and expand my person. I had to dive into the survival deep-end, and hope to not sink to the bottom. I had to create my version of home, and how I wanted that to look. Unlike my dad I was able to ask for help, at some point, to get my version of a safe happy home.

Home is a four letter word. Sometimes those four letters come from love, hate, fear, care, beat, need, deny, fail, gain, grow, wish, hope, like, risk, take, wait and want. Home isn’t a location, it is what we compel it to be. That may be based on what we have known in our lives, or what we know to be right for us. It will be unique to each and be held together by however is best for each individual. It is a common right that I wish for all that seek out whatever version they need to become their rightful best.

Recently, we had a family reunion of my father’s brothers and sisters, and their kin. It was at this gathering that the truth of my secret siblings was revealed. A secret that was held for almost fifty years, guarded for two generations. My siblings grew up as best friends with my cousins, in their small community. I wonder if there was an innate draw to one another, their blood connection being the magnet. Through their traumatic beginnings, I like to romanticize the idea of genetic intuition. In reality, living in a small borough with an even smaller portion of age-appropriate children makes more sense. Since the discovery, I have connected with my oldest sibling. It has been a bit of a rocky beginning, filled with doubt, confusion and baby steps. I am not sure where our path will take us, but I know our dad would feel that much more grounded knowing that we are taking measures to try and connect. Writer George Bernard Shaw sums things up well when he said: “ if you cannot get rid of the family skeleton, you may as well make it dance.”

And dance we shall do.

MOOGFEST 2016 coverage – CJLO 1690AM

#CJLOGOESMOOG: DAY FOUR

 May 23 2016 // Julie Matson // Magazine // Features

Today was a short day for me, thanks Air Canada for booking me on an early flight.

Despite my brief amount of time, I managed to see some great stuff!

I began with watching a conversation with Ben Frost and Tim Hecker at The Armory. I also interacted with The Floating Point Collective’s RTP Convergence installation. This was a display full of many LED touch sensitive rods, set up in a pyramid shape. Participants interacted in all aspects of the piece, moving in an out of the setup. When you touched a rod, coloured particles traveled through the rod, to another part of the installation. It was very interesting to observe what happened with a small amount of human interaction, no contact, and lots of human contact. It had a very organic wave-like feeling, which was quite soothing.

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My official “last” program that I watched at Moogfest 2016 was a fitting ending. It was another rad lady of electronic history, Suzanne Ciani. It was a durational installation, of which I was only able to witness a small section of, before heading to the airport. If you aren’t familiar with the name Suzanne Ciani, you probably are familiar with her music. She is another legend featured at this year’s Moogfest, iconized through her work with the Buchla Analong Modular Synthesizer, and endless film scores she has written.

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What I got to experience of her four hour installation (!!) was incredible. She has a lovely ability to capture movement and resonance with her soundscapes. I am happy I got to bear witness to some of her wizardry!

https://www.instagram.com/p/BFt9lPtSvVc/embed/?cr=1&v=7

Thinking about my whirlwind festival experience at Moogfest 2016, I feel inspired upon leaving. Sure, there were issues surrounding aspects of the festival, but honestly, every festival has logistical issues, it is in their nature of organized chaos. The sheer amount of festival goers swarming the streets of downtown Durham was bound to create some hiccups. It also created an extremely welcoming environment, bonding one another through the love of all things “electronic music.” I had many thought-provoking and heart-warming conversations with random strangers. I met new friends. I re-connected with old ones.

All these things combined with one of the most solid festival programming and artist lineups I have seen made Moogfest 2016 my highlight of the year so far!


Julie Matson has covered the 2016 edition of Moogfest in Durham, North Carolina, and also hosts Beyond The Black Rainbow ;where she puts back the experimental back into experimental music every Monday at 4pm ET.

Read more of her tales from Durham chronologically:

And check out sights and sounds of our coverage on social media, by following the hashtag #CJLOGoesMoog. Photos and videos courtesy of the author, with permission.

 May 22 2016 // Julie Matson // Magazine // Features

A conversation with Ben Frost and Tim Hecker. Photo taken by author.

Today was a day to celebrate musical diversities of Moogfest 2016. Well, after a quick trip to the Moogfest Record Fair, presented by All Day Records, Merge, and some delicious food from one of the countless food trucks surrounding the downtown core.

My music day began with Olivia Block at the Durham Arts Council PSI Theatre. This was a full aural experience, augmented by one pale white light illuminating the centre of the performance area. The theatre was an ideal space to showcase Olivia’s electroacoustic composition. The sounds filled the entire space, bathing the audience in a repertoire of sound frequencies, ranging from the lightest whisper to an almost harsh noise level. It was breathtaking.

Next, I headed over to the Carolina Theatre to get ready for Laurie Anderson. This was one of the performances I was most looking forward to at Moogfest this year, so I made sure to get to the theatre quite early. Most of the shows at the fest had been plagued by extremely long lines, so I definitely did not want to be shut out of this show. For real, Anderson’s performance left me speechless. She was truly captivating, and had the audience hanging off of every word she said. It was so emotive, personal, funny and inspiring. I want to start a traveling fanbase that goes to all of her shows, so please get at me to start this club. Bonus points if you have a bus or a plane already.

I needed to reflect after her show, and not listen to music for a while, just to let Anderson’s performance sink in more deeply, and clearly the best way to make this happen was via the consumption of pizza.

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This was also a good time to prepare for the next momentous Moogfest moment, Sunn O)))outdoors, underneath the light of a full moon. Can you get a more legit Sunn O))) setting than that? The answer is no, not really.

Picture it— fog rolling by, revealing the cloaked metal-drone gods. An ocean of fists raise to the air, being illuminated against the fog by the light of the full moon (and yes, this really happened).Their wall of sound being delivered by a literal wall of amps. 30, if I counted right? Ya, I know, seems like 30 amps is too much, but please, define “too much,” in the context of Sunn O)))? More like “just right.” Okay, maybe several people left once they began, but clearly they missed out on a religious experience. Watching this show made me feel #blessed. I never understood that hashtag before, but now, it’s in there, deep, nestled beside Laurie Anderson’s performance a few hours before. Quite a day. Wow.

https://www.instagram.com/p/BFsJmE4SvXN/embed/captioned/?cr=1&v=7Getting ready for the Sunn 0))) sonic attack… Even the sky is ready #cjlogoesmoog #moogfest2016 #greyskiesatnight #blessed @moogfest

A photo posted by CJLO 1690AM (@cjlo1690am) on May 21, 2016 at 5:43pm PDT

My evening ended with trips down hidden alleyways to a Party Illegal event. We can call it an off-Moogfest event. The place, Arcana, was a welcome little break from the hectic festival swing. It felt like a speak easy from a different decade, and full of fun folks displaying a fine southern hospitality. At points in the night I tried to sneak back to The Carolina Theatre to see other acts, but the block long line was a major deterrent, and I found myself returning to the sanctuary of Arcana and the Party Illegal peeps! Thank you for showing me the community-side of Druham’s electronic community, it was a delight!

One more (short) day to go!


Julie Matson is covering the 2016 edition of Moogfest happening in Durham, North Carolina, and also hosts Beyond The Black Rainbow where she puts back the experimental back into experimental music every Monday at 4pm ET. Read her conversation with Moogfest festival director Marisa Brickman, and keep it locked to CJLO On Air and online to hear more of Julie’s tales from Durham. Click here to check out highlights from Day One, and here for Day Two of the festival.

Follow sights and sounds of our coverage on social media by following the hashtag #CJLOGoesMoog

May 21 2016 // Julie Matson // Magazine // Features

Today began bright-eyed and bushy-tailed, and ready to talk radio at the panel on Radical Radio. I was especially excited for this discussion, not only because I am a self-professed radio nerd, but one of the speakers was a college radio alumni of mine, Anna Friz, from back in the day at CITR 101.9fm in Vancouver. Along with co-presenter Jeff Kolar, they discussed the cross-disciplinary aspects of radio, as art, communications, and current transmission practice, highlighting the beauty found in the instability and somewhat randomness of the signal.

I really appreciated the theoretical concepts of radio as art, and recognizing that it happens in the moment, however long the duration may be. Sigh… Radio…

My afternoon consisted of another trip to the American Tobacco campus, the site of many things Moog, including the Modular Marketplace and Moog Pop Up Shop. The only comment I will make about this visit is that I may or may not have spent some money there, and I may or may not be figuring out how to bring something the shape of a Moog Sub Phatty synthesizer home.

Okay then, now that is out of the way, moving right along, let’s talk music!

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My evening started out meditatively, watching sets by Alessandro Cortini and the lovely Grouper, at the Carolina Theatre. I thought this was a great pairing to be back to back at a festival. Their sets, and visuals, were very complimentary. The only annoying part of this night was the drunk Gary Numan fans sitting all around me, chatting loudly, and gesturing wildly with their arms. I was tempted to stay and watch Gary Numan, just to seek my revenge on them, but alas, I did not. I knew they wouldn’t realize my efforts, but just accept them as drunk-speak. I feared they might accept me into their brethren of rude concert-goers.

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Instead of facing this potential future, I staged my own silent protest, and left the theatre to move onto greener pastures. By greener pastures, I mean more Chicago-house based experiences, heading next to The Pinhook, for Kyle Hall. Keeping the party alive, we headed next to The Armory to catch another Chi-Town native, The Black Madonna, laying down the law on the dance floor. I was stoked to experience The Black Madonna live, and have much respect for their steadfast politics— highlighted in their quote:

Dance music needs riot grrrls.

Dance music needs Patti Smith.

It needs DJ Sprinkles.

Dance music needs some discomfort with its euphoria.

Dance music needs salt in its wounds.

Dance music needs women over the age of 40.

Dance needs breastfeeding DJs trying to get their kids to sleep before they have to play.

Dance needs cranky queers and teenagers who are really tired of this shit.

Dance music needs writers and critics and academics and historians.

Dance music needs poor people and people who don’t have the right shoes to get into the club.

Dance music needs shirts without collars.

Dance music needs people who struggled all week.

Dance music needs people that had to come before midnight because they couldn’t afford full admission.

Dance music does not need more of the status quo.

Needless to say, it was good way to end my evening. Until tomorrow, Moogfest!


Julie Matson is covering the 2016 edition of Moogfest happening in Durham, North Carolina, and also hosts Beyond The Black Rainbow where she puts back the experimental back into experimental music every Monday at 4pm ET. Read her conversation with Moogfest festival director Marisa Brickman, and keep it locked to CJLO On Air and online to hear more of Julie’s tales from Durham. Click here to check out highlights from Day One of the festival.

Follow sights and sounds of our coverage on social media by following the hashtag #CJLOGoesMoog

MOOGFEST 2016: A CONVERSATION WITH FESTIVAL DIRECTOR MARISA BRICKMAN

Recently on Beyond the Black Rainbow, I spoke with Moogfest‘s Festival Director Marisa Brickman, giving us a taste of what to expect of this year’s festival happening from May 19 – 22, 2016 in Durham, North Carolina.

Moogfest is a festival positioned as a platform for communication, creativity, and experimentation within the realms of technology, music and art. It pays tribute to Dr. Robert Moog, pioneer and innovator/inventor of the infamous synthesizer that bears his name. This annual event bills itself to welcome “futurist thinkers, inventors, entrepreneurs, designers, engineers, scientists, artists and musicians” as they offer workshops, lectures, exhibits, and performances.

Read along to follow my conversation with Brickman for a preview of what to expect in this year’s edition, or click here to hear it as it first aired on April 18th. And stay tuned for CJLO’s on-the-ground coverage of this year’s Moogfest from yours truly…

Julie Matson: How are you?

Marisa Brickman: I’m good. Ya, we are releasing the schedule, and we currently have 324 sessions of various workshops, conferences, and live performances, happening so its pretty good!

Julie: Ya, I was wondering actually, just looking at the website again today, I was like how? I don’t even? I can’t even imagine the beginning of an undertaking of trying to fit that into one schedule in such a short amount of week-time, you know?

Marisa: It’s awesome, we are really excited, it’s going to be really amazing.

J: And I’m really excited. Okay. So I’m going to start off by, actually just start talking a little bit about you, and why we’re talking with you in particular. So, Marisa, how about you introduce yourself? It’s easier for you to kind of talk about who you are and what you do with the festival, and then we’ll go from there!

M: Sure! Yeah I’m Marisa Brickman, I’m the Festival Director for Moogfest. So, you know, I’m essentially running the show over here, steering our programming committee, the production team, marketing, social media, um, local community partners, pretty much trying to keep everyone on track.

J: That’s amazing, and I applaud you in advance because I know how big this festival is. How long have you been involved with the festival?

M: Since last July. So, you know, Moogfest has, um, obviously been around for quite some time. It was originally, ah, it was a New York event, back in the early 2000s, guys getting together and paying honour to (Dr. Robert) Bob Moog. You know, the Moog factory moved to Asheville, which is where they are now, and the festival eventually moved to Asheville. It happened for a few years in Asheville, but then recently it relocated with some new partners, and a new team to Durham, North Carolina, last July. So I moved here in July of 2015, and have been basically kind of building the groundwork here in a new city.

J: Amazing. That sounds like a feat. Has it been going well? I know it must be a lot for you being new, in a new city, with a festival in a new city.

M: Yes, I mean, I was actually born in a city, about twenty minutes away from here in Chapel Hill, North Carolina. So, I’m somewhat familiar with the area. But I mean Durham – it is a completely different place than it was back in the 2000s. Obviously, Duke University is here, there’s North Carolina Central, and just kind of generally, this whole area has tons of universities. So it’s an amazing place as far as research, innovation, new thinking, so it’s been fun and it hasn’t really been that challenging.

I think any time you move to a new city and you try to start something from scratch with a new team of people, and you know, a certain set of local politics and new relationships, I think it’s challenging. I think the festival itself is a fun challenge. And then integrating yourself within a new community and figuring out how all of that works is a separate challenge.

J: Umhum, I’m excited to come. And just check it out, and see what’s happening. I’ve never been to North Carolina, so I’m definitely looking forward to it. So, I want to talk a little bit about the festival itself… And there’s a lot, as we kind of were hinting at, there’s a lot that is happening. In terms of events and classes etc etc, and I was just wondering, from the organizers’ perspective, what it looks like to come up with the theme that you’ve come up with for this year and, how that sort of plays out with going to achieving that, you know from the ground up, how does it start? It would be amazing to get so-and-so artist or, what can we build around that… or? You know? Do you have any little insights, or little tidbits that might be insightful for that kind of process?

M: I mean I think it’s a pretty natural and organic process. Generally, the festival, it’s all about exploring the tools that are used for creative expression. You know, Bob Moog himself was a synthesizer design pioneer. He worked in partnership with artists such as Wendy Carlos, Steve Emerson, Sun Ra and really designed new synthesizers and tools that they can use in their music. I think that kind of pioneering spirit and collaboration is something that is really the baseline and underlying tenet of Moogfest. We had a variety of different programming partners from various fields and industries who have helped put together and shape the program that we have.

So, a theme like Afrofuturism, for instance, is a pretty hot topic in Durham, which is a 50% African-American community. The GZA, as you know, is one of our headliners. He’s obviously pretty well known for being an academic in addition to being the genius behind the WuTang Clan. We have him coming to talk with one of the leading African-American professors from Duke. They’re talking about time traveling and Hip Hop. Chuck Lightning of Wondaland [Collective] is curating the whole Afrofuturism program. There is a local community organization called the Hayti Cultural Center, which is also launching their own Afrofuturisms program, and we are collaborating with them. So, it kind of comes in a variety of different ways.

I think something like Transhumanism is very appropriate for an event like Moogfest, where people are becoming technology, or how are we using technology to form our bodies, our selves and our minds. One of our keynote speakers is Dr. Martine Rothblatt, who is a transgender woman who started [Sirius] satellite radio, she runs United Therapeutics, has a new book coming out, has a robot version of her wife, and is very pioneering when it comes to that type of discussion how technology is transforming the future of our lives. She is actually even more appropriate with the HB2 [legislation] controversy that is happening here. I could keep going on and on here, but I think those are two good examples that show the diversity of Moogfest, from the Afrofuturism angle to the Transhumanism angle.

J: The program looks amazing. I’m pretty excited that it’s so full spectrum. I really love how there’s a whole film component as well, and it’s not just a film component. It’s amazing, several films are being scored by really amazing people, just like, sidebar, on top of them performing live, and I really am blown away by the program itself. Is there something that you are really happy with? You know, in the planning process, was there anything that you wanted, that would be really amazing to get so and so. Or, what if we incorporated this theme, or this kind of master class? Something that you have a personal connection to that that worked out and you’re like “wow, this is cool!”

M: I think, you know getting Blood Orange was pretty big to perform in North Carolina. He doesn’t tour that much at all, so having him come to North Carolina is exciting. Robert Rich, who is super hot right now, has never been to North Carolina. Mike Snow are coming to kick off their entire US tour. Gary Numan is performing for three nights, doing an album triptych, so he’s performing three different albums each over a series of three nights in different venues.

Every time I look at what we have in the program gets me really excited. We have an old theatre which showcases architects of sound and many avant-garde artists with radical compositions, So there you’ve got Sunn O))), Explosions In The Sky, Oneohtrix Point Never, Laurie Anderson, Alessandro Cortini, Daniel Lanois, Tim Hecker, Ben Frost, Arthur Russell. So, that particular venue is a beautiful old theatre, we programmed that particular location to the venue, you know, the production will be really high levels. There’s an old armoury here, that literally used to be an armoury that had an old brick building, we are transforming it into a nightclub.

There we will have Godfathers of electronic, house, disco and techno, like The Orb, DJ Harvey, Bicep, The Black Madonna, Jlin, Qrion, and UV boi. So its kind of, I think, generally what we do at Moogfest is show a spectrum of artists along a certain scale, and a spectrum of genres, and artists that represent each niche, from classic artists to new artists, etc.

J: I really like that about your festival actually. Because I find my show is focused on, I play more experimental electronic music. That’s what i’m drawn to, and whenever I talk about music with people that don’t necessarily know what that is, they just assume it’s one certain thing and i’m like no! And so I really appreciate and respect the diversity that you’ve put together and pulled off in such a way. It’s very exciting and very diverse and interesting. You know the program is really, really spectacular and I’m very excited to just come and be a part of it. What is one of your guilty pleasures that you’re pretty excited about?

M: I wouldn’t say any of them are guilty pleasures. It’s all pretty heady. But I do think that if you were to have to select what someone may consider a guilty pleasure it would probably be more in the pop sound of things, you know, like Grimes, who I am pretty excited to see. You know, I had a magazine for fifteen years, and we did one of her first interviews and fashion shoots six years ago. I think she is a real badass, I’m really excited to see what she is going to do.  As I start to see people’s tech riders and stage plots, and understand what we are going to be doing for their production, I think “whoa!” I can’t believe we are going to be doing that! A lot of these artists are on big tours, playing big festivals. We are a small festival, only 4500 people. These artists are bringing their shows here that are the same exact shows they are taking to Coachella.

J: Yeah that’s spectacular.

M: I don’t think anyone here really understands what they are in for. Everyone on our team, we are here together as a group trying to build something that we believe doesn’t exist, that we’re inspired by. And everyone that is involved, our talent buyer is also a music manager, and a booking agent and a music lawyer, and is super well-connected in the music industry, and has impeccable taste and specializes in electronic music. Emmy, one of the creative directors form Moog music, she obviously works with artists at Moog. Our CEO runs an agency that specializes in cultural outreach in activist projects.

Our program manager used to work at Lincoln Theatre, and is from the UK, and has done several festivals in the UK. It is a really diverse group of people. Sometimes that is challenging, in my position, in wrangling people, but ultimately it has gotten us to a really great place, having this many people have a voice in how this project unfolds.

J: I think, yeah. I’m looking forward to it and very excited. Is there anything that you feel like i’ve missed out? About asking or regarding the festival or MOOGFEST.com? Is there anything that you feel like I’ve missed, or that you want to put a special focus on?

M: I mean I think definitely check out the schedule and workshops that we have. There are workshops on how to sonify plants, how to build an immersive audio visual environment, we have theremin workshops for kids, we have IBM Watson coming to do cognitive tech for developers. We have creating music tech for kickstarter. It is a pretty good combination of inspiring programming that is also very educational.

I think some conferences or festivals sort of gravitate more B2B platform information, like how to build your Facebook pages, or why the net is killing the music industry. We aren’t about that at all. We want to really inspire people to think in a different way, or just to think, generally. I highly suggest anyone to take a real deep dive into our website, we have the full schedule up; you can click through and read about every individual workshop. We have nine interactive art installations that will be scattered across the city.

A bevy of information to dive in to, hopefully it will be a little bit easier for people to wrap their heads around. We are super excited to get all of this information out there, and to get people excited about everything that is possible.

J: That’s great. I’ll definitely be checking that out and, recommending everybody to you. If people want to sign up for workshops, it will be pretty straightforward on the website?

M: Yeah. We’re going to give everybody a few weeks to digest it. We will be alerting people when the signups are open; some of the workshops are only twenty people. So, I think we will give everybody some time to figure out what they want to do before there is a mad rush to sign up.

J: Thank you, thank you for that! I appreciate that. Well, perfect! Thank you so much for taking the time out to talk with me, I really appreciate it. I always like to get the insight into people that are actually putting this together, rather than just interviewing artists, because I know that it’s more special than just going to see a live band, you know?

That’s what I like to have my listeners, and our audience to be witness to, and to actually realize that people put thought into these things, it’s not just like “You know what would be a really cool dance party?”  So this is why I really love to interview organizers and people that are putting on the shows. That’s its own special art form and talent and, you know, I like that little bit of insight, and you had so much insight for me- I love it.

M: Awesome! Yeah, I’m super excited that you guys are excited, and I look forward to welcoming you to Durham!

Catch Julie on Beyond The Black Rainbow as she puts back the experimental back into experimental music every Monday at 4pm EDT. Be sure to also catch our coverage of this year’s Moogfest, only on CJLO.  

Photos: Moogfest 2014; Festival Director Marisa Brickman, Kraftwerk @ Moogfest 2014- All photos courtesy of Moogfest.