The yearly phenomena of holiday tunes are creeping their way back into the speakers and stereos of folks tuning in to hear that jingle jangle. There is no shortage to the slew of Bublè's and Carey’s waxing poetic about Santa Clause’s misdeeds with my mother. I am sure those who celebrate Christmas are jolly and content with the onslaught of music available to consume. When it comes to other forms of holiday music, while there is a lot out there, the universal recognition seems to be lacking. I feel that the topic of Hanukkah music always comes with the context of there being an abundance of Christmas music, usually remarked as “there’s so much Christmas Music - I wonder if there’s any music for Hanukkah … there’s that dreidel dreidel one … oh and that Adam Sandler song … so funny!” A trend I’ve found with holiday music is it usually falls into four categories: old, mold, sold, and gold. "Old" is the classic Christmas music we’ve come to love and associate with claymation films, school parties, and church choirs. This is stuff with long titles and archaic words like: O Come All Ye Faithful, Hark the Herald Angles Sing, and God Rest Ye Merry Gentlemen. While these rock, I’m searching for more contemporary music that doesn’t give me communion vibes. The next category is "mold", these are the songs that are forgotten for a reason. They are nothing but carol fodder, and are usually only heard when they’re played by some kid’s iPad with no headphones, while a ball bounces on every lyric. The "sold" category is the music that was created during the capitalistic takeover of the holidays. This is where musicians started to create these classic tunes in order to turn a couple bucks in to record label. This is where you start to see your Frank Sinatra's and your Bing Crosby’s make Rudolph’s journey as sexy as can be. While these have their merits, I’ve grown tired of hearing these crooners mope about not being home for Christmas. Finally, the section I aspire to source my playlist from: the "gold". These are the few tracks that slip through the blizzard of holiday albums that evoke the feelings of the holidays while also just being really great music. I needed my gold songs to really jam out to this Festival of Lights. The quest clear, I was to compile a playlist of golden Hanukah jams that provide me with the dopamine and catchiness that the songs of Christmas fervently provide. One of the factors that needs to be considered is: replay-ability. This jam has to be palatable for eight nights straight. I wanted to avoid a nonsensical Hanukkah playlist, like some of the other ones I saw. Many of them it was clear the creator was desperately trying to get any sort of Jewish sounding song under one banner. I didn’t want to fill out the playlist with songs based on their titles containing either Menorah or Dreidel. (Despite Dreidel by Don Mclean being the premiere song). After scouring the internet and listening to as much as possible this holiday season, I have complied a playlist of 8 golden Hanukkah songs (one for every night). Available right now to the Jewish and gentile public on Spotify. The playlist is called: "Maccabeatz". Funny right? I made the title before I realized there was a band called Maccabeats - and now I am just ashamed, but I think it’s just too good not to be there. Great minds right? The Playlist Features: 1. “Driedel” by Don McLean 2. “Sevivion Sov, Sov, Sov” by Kenny Ellis 3. “Chanukah in West Virginia” by Scott Simmons 4. “Applesauce vs. Sour Cream” by The LeeVees 5. “Feast of Lights” by They Might Be Giants 6. “Chiribim Chiribom” by The Barry Sisters 7. “Rock of Ages” by Ben Kweller 8. “This Little Light of Mine” by Julie Silver May you find peace and love this holiday season, thank you for checking out the playlist. Happy Hanukkah! Happy Holidays!

Cover Your Bases is a compilation album put together to raise money for FOOD NOT BOMBS. Released on November 5, 2021 and curated by Fake Baseball, the album consists of covers from Kalamazoo bands and artists. FOOD NOT BOMBS is an organization that uses donated foods to make and deliver weekly hot meals to the unhoused population in Kalamazoo. All proceeds received from the album through February 5, 2022 will go directly to FOOD NOT BOMBS to aid them in their endeavors. The album can be found at fakebaseballpresents.bandcamp.com Putting together this album meant quite a lot to everyone involved, what follows is just a little bit about why this album is important: Food Not Bombs is a large network of independent collectives striving to give donated food and other necessary goods to people in need. The chapter in Kalamazoo also functions as a direct action campaign for the people in need, particularly the unhoused, in Kalamazoo. There has been significant harassment against our unhoused neighbors from public officials and the city, including shutting down encampments and giving people no alternative places to go. This behavior aims to criminalize the impoverished. And it is unacceptable. The work that Food Not Bombs does, especially now and especially here, is imperative and invaluable. Fake Baseball organized and produced a collaborative compilation of cover songs performed and recorded by many amazing Kalamazoo bands and artists including Saxsquatch & Bridge Band, Jordan Hamilton, Ardea, Jake Simmons, Katy Needs A Life, Cynthea Kelley & Matt Landon, Shai-Li, Jeremy Ruggles, and Disco Wannabee. All of the money generated from purchasing the album will be donated to Food Not Bombs of Kalamazoo through February 4th, 2022. The album is live now and you can find it by visiting fakebaseballpresents.bandcamp.com. If you’re interested in hearing more from Fake Baseball, a group of musicians and engineers who are dedicated to proliferating art for the community good, you can visit their Bandcamp fakebaseball.bandcamp.com which has demos of tunes that will be featured on their upcoming, debut album set to release in on February 5th, 2022. Fake Baseball’s core members include Maggie Heeren, Adam Danis, Jarad Selner, Grayson Nye, Matthew Milowe, and Ethan Bouwsma. And if you’re interested in seeing them play, they have a show scheduled for New Year’s Eve at the Dormouse Theater in Kalamazoo. It might be exactly what you want to do to traverse into the New Year. Tune in at 2 PM on Saturday December 4th to hear Cover Your Bases live on-air along with an introduction by Grayson Nye of Fake Baseball in support of FOOD NOT BOMBS!

People often question the legitimacy of themes, messages, and the diegetic elements of a scene when it comes to improv. The idea that there was no singular author in a room constantly rewriting and editing their magnum opus seems to turn audiences away from appreciating improv as they would on any other form of Drama. The truth becomes prevalent when you experience improv and realize that elements of storytelling are just as rich, if not more so than its more planned counterpart, the script. The truth arises from the unadulterated connection the performers have with the audience - and through this experience, produce a one-of-a-kind style of performance art, catered to the present moment. Most improv scenes are done with actors sourcing prompts from the audience and creating a scene based on the audience’s suggestions. Now, take this concept, and make it an off-the-top musical journey, and you have: Freestyle Love Supreme. Freestyle Love Supreme is an improvisational hip hop group started by Lin Manuel Miranda and Anthony Veneziale. The idea was to create a show for artists and musicians to perform rap and hip hop completely improvised. The group is composed of members who rap, musicians and singers, and Shockwave, the resident beatboxer of FLS. The show was initially put together in 2003, and performed their fully produced show, directed by Thomas Kail, at the Ars Nova festival in 2004. They rotate performers so the group isn't consistent in it’s members. Their most notable rappers would be: their founders; Lin Manuel Miranda, and Anthony “Two-Touch” Veneziale; Utkarsh Ambudkar, Chis Jackson, Kailla Mulludy, Daveed Diggs, and Wayne Brady. Accompanied by musicians such as: Arthur Lewis and Bill Sherman. Together, this brilliant band of excellent entertainers protected duce astonishingly witty, and honest music. The spontaneity of improv, is inspired by interaction with the audience, and so the message of the music perfectly relates to the vibe of the room. I stress the importance of truth in their art, as do they with “True!” being a popular catchphrase said by the group. The words said, the notes played, and the beats boxed all come from the heart, directly to the microphone. The transparency allows for the themes and punchlines of the act to resonate strongly with those who listen. In recent years they have premiered a television show featuring 15 years of footage captured over the group’s many years of performing. Last year they opened up at the Booth Theatre for a run on Broadway, which was cancelled due to COVID. However, the show has reopened and tickets are back up, The Freestyle Love Supreme Broadway show is performing at the Booth Theatre, in New York City, until January 2022.

“Fly-Tip Mattress” is the first single from UK musician Sam Paul and I’m very excited to review it for you all today! The song starts off with a beautiful guitar line accompanied by a bouncy base line. In my experience, it’s impossible not to feel chilled out when listening to this song, even from the get-go. About thirty seconds in we get a taste of Sam’s vocals which much like the instrumentals involve a gorgeous upper line and an accompanying lower line. Sam’s lyrics on the lower line follow what he sang in the upper line and repeat the lyrics as well which contributes to the relaxing, laid-back feel. Fly-Tip Mattress lyrically is all about change, but the feel of the song brings a sense of comfort and coziness to that despite change being uncomfortable for so many of us. It’s very bluesy which fits with the concept of change but it still manages to be very comforting, which I love. Overall this is such a lovely song that I can’t recommend checking out enough, and I can’t wait to see what Sam does next!

Self-proclaimed ‘sad indie rock’ band The Krelboynes recently came out with their LP, To Krel A Mockingboyne which I am here to review for you all today! However, before I get to reviewing the tracks on this album, I just want to say how much I appreciate the puns in this album including in its title "To Krel A Mockingboyne" - there's nothing to make things more fun than puns! Alright y’all, let’s get into the review! The album starts with “Homeward Bound” which is a beautiful, base-heavy track about wanting to go home. It definitely fits the self-proclaimed ‘sad indie rock’ genre but it’s also very very pretty. I wouldn’t normally consider myself a big sad music fan but I can definitely vibe to this one. “Krelamazoo” comes next which is another pun that put a smile on my face. I love the nearly three minute instrumental intro of this song which once again is very pretty. This song focuses more on the idea of not feeling alone when you’re home which is so nice with it also being about Kalamazoo. There’s such a great sense of community especially in the Kalamazoo music scene and this song is a great reminder of that. “Toilet Plus Paper” is for sure one of my favorite songs on this album which feels very soothing to me. I think the repetitive base line drives that feeling and gives the space for the guitar to have some fun. This is a song I can’t wait to hear at a house show just for the good vibes. I’m also usually not a huge fan of just instrumental songs but “Toilet Plus Paper” really won me over! “Roy” comes next which takes a bit of a darker tone then we see earlier on in the album. This darker feel is driven both by the lyrics and the music, the lyrics focusing on the unknown which can make even the best of us feel a bit hopeless. The song does end on a higher note musically speaking which leaves the listener feeling a little more optimistic. “Dirge” is the next track on the album which doesn’t get too much more upbeat. This song is a little more lyric heavy than we’ve seen on most of the other tracks which is a nice change of pace. We do see some more repetition in the feel of this song which I think really adds to the soothing nature of both this song and album. Most of the songs don’t follow the ‘traditional’ form of a song which allows for both a lot more creativity and repetition like we see here. Next up is “The Abyss” which ironically feels a bit more upbeat to me than the last two songs on the album. This song again focuses on the idea of the unknown, specifically pertaining to the unknown in one’s own life while also having someone you love in your life. I think everyone knows the pressure to have your shit together when you have someone you love, but I think this song makes light of that situation and leaves listeners feeling a little more hopeful. “Caboose” is our penultimate song which is another gorgeous instrumental. I really enjoy the back and forth between the more mellow sections and sections that go a bit harder. This feels like another great house show song to me as the vibes are just really nice. Last up we have “Journey into the Vortex” which is probably the slowest and most laid-back song of the album. To end this album, The Krelboynes take us into the vortex which is a very fitting end. The whole album has been beautiful but somber and it only feels right to leave us on a darker note with this last song. Anyone who knows me knows that I’m a big fan of upbeat music but in spite of that I really loved To Krel A Mockingboyne. As we head more into Winter where the days will continue to be short, I’ll definitely be keeping this album in my rotation as something beautiful but very mellow to listen to. If you want to hear some of this awesome album live, don’t forget to tune in at 7 PM this Monday (11/15) to hear The Krelboynes live on-air for the return of The Basement Show!

Hey hey! I'm Zola and I'm so stoked to be the video editor at WIDR this year. I'm hoping to put out some cool stuff and brainstorm some awesome ideas with the team. In school I am a Film, Video, Media studies and Spanish double major, on the side just a cool kid who loves playing guitar hero, listening to music and watching movies. Thanks for any and all support! Hi there! I’m Cully! I recently joined WIDR as the new Promotion’s Assistant and I’m having a blast doing it. I am a freshman and I’m majoring in Film, Video, Media Studies. I am a performer, I love acting and improv comedy. I enjoy a good amount of silliness and whimsy in my life, but don’t think I’m all laughs - I also enjoy a quiet mindful moment now and then. Hope you tune in and hope to see you around! Hey, I’m Noah Shankool, the new Production Assistant at WIDR. I’m a 5th year MAT major and Business minor. I love Funk and Dance music and I spend a lot of my free time producing and playing shows. I’m excited to be part of the WIDR crew!

I was recently shown the album 606 MPH by Betelmire and I keep finding myself revisiting it. Only available on YouTube, the description reads: “606 MPH was recorded on an analog four track at the house on Valentine Avenue, sometime between summer '04 and winter '05. The album in its entirety was an experimental creative endeavor by the betel. Her brother played the drums on A Record Low.” 606 MPH is an eight track album of innocence, curiosity, and longing. It features the calming vocals of Christy Ruschmeyer and (as the Youtube description says) her analog four track. The music itself is simplistic, but lyrically I believe there is depth and beauty. “My Mensa Dream” is probably my favorite track. I first listened in my dorm room, which made the experience feel more personal. Although I’m listening to this 16 years later, I can picture her recording it in the same setting, whatever her own space may have looked like… Or maybe that she is there next to me on my floor singing about stars, spheres, and perfect infinities. Betelmire’s lack of fans makes the listen even more intimate- like it’s just us two and the person you think about when you hear her sing. “Your photograph” is another pretty song. Christy sings, “on colored film strips is where I see you soon.” I asked my girlfriend what she thought of the song, and she told me “I really like that one. Like the lyrics about how I’ll never know you but I’m going to give you sentimental thoughts… and just the concept of taking pictures of strangers and what they could be like through that single photo.” I believe this is the track where we see Christy’s curiosity most. It’s a song about giving the unknown familiarity, so you can sink into it and fill the spaces you never knew existed. The album feels complete when I reach the song “The Outer Island.” Lyrically, this track is, perhaps, the most straightforward. It’s a 2 minute song that repeats “hey, I’ve gotta know/ where you go/someday soon (and I know it’s you).” It feels like she is longing for tenderness… and the theme of ambiguity shows again, just as it did in “Your photograph.” Except this time, Christy knows the person, and we don’t. The strangers of “Your photograph” become real and become absent. They become lost. I hope she found what she was looking for.

Do you remember in the first 21 Jump Street when Channing Tatum takes wifi and curses a certain jazz musician while diving into a gong? Well today, you’ll find out exactly who that it is - along with the many inspirations his work has provided me and other jazz lovers alike. Miles Dewey Davis III, born on May 26th, 1926 in Alton Illinois, has a long legacy standing as a staple of jazz music. He began trumpet at the age of 13 due to his family being involved heavily in the music scene. He joined the Eddie Randall band that resided in St. Louis in 1941. After three years of touring, Miles was offered a scholarship to Juilliard, a well-known prestigious music education institution that had the best to offer in accelerating one’s musical abilities. Miles had one of his first real tastes in performing when he was 17. Dizzy Gillespie and Charlie Parker called on him when they realized their first trumpet player was out sick with tuberculosis. The first record I had the pleasure of experiencing was in fact Milestones. This record was a staple in defining Davis’s sound throughout the years. In 2013-2014, it was my first school year in being a part of the jazz band. I was one of two drummers, the other drummer was my good friend Jon Paul. In the beginning, it was hard to grasp some music theory since I hadn’t had much training before. We went from playing basic warm-ups, Lady Gaga, to the 9th track on Milestones, "Milestones". That track helped me understand jazz drumming. Contrary to what you may think, not every jazz drummer's experience is the one of Whiplash. No chairs were thrown at me, but I did have to ask myself if I was rushing or dragging minus the slap in the face when counting in 4/4. I learned to play this record by constantly spinning it and drumming along to it. It took a while, but eventually, our annual school concert came around and I felt we all did it justice. I even had a vibraphone solo that lasted twelve bars. Our instructor, at the time, forced everyone to solo for a good grade. I was sort of anxious and kind of impassioned when he mentioned that we have to make up our own twelve bars. However, I found the performance of the Miles Davis record and soloing was the best thing he could’ve done for us, teaching improvisation without directly giving context to what we were doing. I will forever be grateful for that experience. Jazz music is a great way to easily learn music theory and improvisation. I’m thankful to have played it a good chunk of my lifetime. As well as learning how these musicians made it out of their struggles and followed what they wanted to pursue. Davis, unfortunately, passed away in 1991. His soul will live on for all the future newcomers to jazz music. Before I end the article, there’s a cool anecdote I must share including Mr. Davis and a young Phillip Seymour Hoffman. Hoffman was working as a lifeguard at NYC’s Metropolitan Towers, coincidentally where Davis was residing. One day, Miles walks down to the pool, and Phillip notices. But when he told the story, Hoffman explains he treated him as a stranger to not make him feel uncomfortable. After swimming about 5 laps, Davis comes to talk to Hoffman in casual conversation. He mentioned nothing about music, only buildings he owned, accidents he got into, and girlfriends. At the end of their conversation, Davis says to Hoffman “I’m Miles” and walks back into his place. What a legendary story. Miles Davis talking to the late Phillip Seymour Hoffman about his life so casually. Sounds like a real-life fever dream.

"The Last Hour" is by far, in my opinion, the most unsettling of Elliott Smith’s last album From a Basement on the Hill. The title of this album, which Smith created before ending his own life in 2004, reflects his mental state at the point of its creation. A basement on the hill, to me, feels like Smith (although, perhaps, at the height of his musical career) was at the lowest point within himself- and the message of "The Last Hour" confirms that. "The Last Hour" is a three minute song about what it feels like to have no life left to reach for. In the first verse, Smith sings “Here’s the army that you mowed to the ground,” and it made me instantly realize he was talking to himself. Smith was a known drug addict throughout his life, and with his addiction, came the relationships that he had ruined. He accepts these mistakes and knows that there is nothing left to do except end all of his relationships, including the one he has with himself. It’s placement on the album is also something I found interesting. Smith has been singing "The Last Hour" for years, but it happened to be placed on the album that was released postmortem. The third verse was also a favorite of mine: “I’ve been thinking of the things that I missed Situations that I passed up for this” It reveals his persistent thoughts of life and everything that has passed by. It’s a song of revelation, depth, and feeling stuck in your brain. It’s Smith’s way of relinquishing into self-isolation and viewing his mind as the saboteur. His voice is quiet, pained, and intimate. He captured dissociation perfectly- it feels like he is trying to talk to me when I listen to it. It’s like he was reaching for something, trying to communicate in such a way that could not be understood until he was gone in 2003. It’s hauntingly beautiful.

Like many other events in the last couple years, the inaugural installment of the Big Fam Music & Arts Festival had to be placed on hold in 2020 due to the ongoing COVID-19 pandemic. With that in mind, the production team was forced to take some time off, heading back to the drawing board to make the festival bigger and better for 2021. So was it worth the wait? The short answer is a resounding “yes.” Marked by rapidly changing weather, a well-curated lineup, and a small-festival setting with a big-festival feel, attendees of the first Big Fam were treated to a weekend of fun, friendship and new memories for everyone. Housed at Harmony Pines in Lake Ann during the final weekend of August, I was lucky enough to be given a behind-the-scenes look at the grounds in July. At that time, very few structures had been built, but the team told me they had big plans for utilizing the space. Without giving too much away, they showed me where certain things would go, and what sort of amenities would be in place. It was hard to picture it all when looking at the bare grounds, but I was very excited to see how it would all come together. Upon arriving on Friday, August 27, the first thing I saw was a very large pyramid structure that had not been there before. I guessed (correctly) that it would be projection-mapped by night, and by that sight alone, I knew we were in for something special. I had no trouble getting in. The gate staff were very efficient at checking my vehicle and credentials, and before long, I found myself pulling into my camp for the weekend. Multiple members of my personal festival crew had already arrived and were hard at work establishing our home base. Many in my camp for the weekend were people I’ve been to multiple festivals with, while others were people I hadn’t met yet who were supposed to be in my group for Electric Forest 2020. Some of those people had made the trek to Big Fam, where we would be meeting in person for the first time. Gray clouds streaked the sky with tinges of blue strewn about, looking like they might open up at any moment, but the weather held off long enough to get a feel for things. Luckily we had planned ahead for that, and had erected a large canopy for the crew to gather under, which was anchored to the ground with cinder blocks. Believe me, we’ve already learned the hard way that if you’re going to have a canopy at a festival, it must be weighted. Other people around us wouldn’t be so lucky, but for the time being, the weather had graced us with a break. Since this is my first festival review since August 2019, I am not focusing on any one area in particular - it is my intention to give a review of the overall Big Fam weekend, as well as to recount my boots-on-the-ground experience as it happened. The Setting The first thing to discuss is the grounds themselves. While the venue in and of itself encompassed hundreds of acres of pine forests and open fields, nothing ever felt too far away. All stages and attractions were easily walkable from the camping areas, and even if you didn’t have a map (which we did), navigation was no trouble. Immediately adjacent to the campsite was the canopy stage, a large covered enclosure that proved to be a popular spot when the rain eventually came. Following that were the vendors, medical tent and pathways to the other areas. Continuing past the vendors would take you to the main stage. The main stage was impressive in its own right - very large and sitting at the bottom of a hill, it was flanked by twin Big Fam banners. It looked very professional - if you didn’t know any better, you might not think this was an independent festival. There was also a smaller stage by the main one, which was reserved for flow artists and fire dancers of all varieties - quite a sight to see when the sun went down. Each stage was accentuated with high-powered LED display walls and lighting systems. While I do realize this is a new festival, it’s hard NOT to draw comparisons to other well-known ones. From the bottom of the main stage and looking back, I had several moments of Deja Vu where I could have SWORN I was at the Electric Forest Ranch Arena stage. That’s how well the production was - again, it was a big-festival feel in a small setting. With the pyramid on the visible horizon, it also reminded me a lot of the former Sacred Vibrations festival, which occurred in Shepherd, MI from 2017 - 2019. Another pleasant surprise was a grand piano and some giant banjos that were on display in the vendor grounds. I’m not sure if it was the same artist, but giant instruments are also present at Wheatland Music Festival in Remus, MI every year. That festival is important to me because it was my first camping event, and I’ve been to it every year since 2012 (besides the obvious). Unfortunately, Wheatland was canceled for the second year in a row this year. But seeing those instruments brought me a lot of joy, because it reminded me of what it was like to be there, even if in a small way. Other attractions included a very large enclosed gallery, which housed the work of various artists for sale in a museum-type setting, as well as a nine-hole disc golf course. I don’t play myself, but several other people seemed to be enjoying it. All of this was rounded out by the Katfish EyeKandy Wonderland, an interactive art and music experience area with an extra stage, which you reached by following a different pathway down a hill. (More details on this area later in the story). While it is not my intention to “grade” Big Fam, there are a number of things I look for in the way of cleanliness and available amenities. When it came to hygiene, Big Fam did an outstanding job, especially under the current climate. Anyone who has been to a festival knows that the Port-o-Potty situation can quickly become nightmarish if not regularly maintained. One festival from many years ago sticks out in my mind, where there was an inadequate amount of POP’s available that were never cleaned. In that case, by day two, I decided to just hold it until I got home. That was absolutely not the case here. There were more than enough for use by the stages and near the campgrounds, and they were cleaned out every morning. Soap dispensers were rarely empty, and even if one was, the others were full. Hand washing stations were also available near the vendors, ensuring cleanliness before a meal. Another thing I really appreciated was the separation of trash and recycling bins. I’ve written before about the sustainability and ecological mitigations that have taken place at other festivals, and I was glad to see the staff taking this small step to make a big difference. In the common areas, I was also pleased to see that the attendees largely seemed to be mindful of their environment - I didn’t see one piece of trash on the ground in the main stage or vendor areas. It’s one thing if there’s trash in your own campsite, so long as you clean it up. But in the common areas, I didn’t see trash on the ground, nor did I ever see any overflowing bins. To me, this says the attendees were being respectful of the space, which is refreshing to see. Even more so was the fact that I never felt the festival grounds were too crammed or congested - despite having at least 1,000 attendees, there was plenty of room for people to spread out at all times. Most importantly, this is one of those festivals that lives up to its name. Almost every two minutes I ran into someone I knew, regardless of whether I last saw them three months or even six years ago. It truly did feel like a “Big Fam” reunion of sorts. Especially given the last two years or so, that was one of the best parts for me. I believe that no matter how great a festival may or may not be on its own, it truly is the PEOPLE that make the experience, and in this case, Big Fam hit a home run. After minimal human interaction since February 2020, it was flooring to see so many people I knew again. Earlier I mentioned how the grounds appeared to stay litter-free the whole time, which I believed reflected a good attitude by the crowd. But it wasn’t just the good will of those in attendance - after the festival was over, I learned that it was largely a tag-team effort by two different volunteer teams working together, Manifest Green and Lake Five. After the weekend, I had the opportunity to speak with representatives from both of those groups. The first person I spoke with was Austin Boughner, one of the founders of Manifest Green, the organization in charge of coordinating cleanup volunteers. Staying Green and Clean, Part 1 - Manifest Green Boughner began his cleanup activities at Sacred Vibrations festival, where he was eventually put in charge of cleanup staff in 2019. Earlier that same year at Electric Forest, he was inspired to start the Manifest Green team. “We had a good night [at Electric Forest], and as the sun was coming up, we were walking around and seeing how trashed the place was,” Boughner said. “So we went back to camp, saddled up with a bunch of bags, and spent the next seven hours picking up trash. Then, we started talking about what it would be like if we created our own business to do this.” Flash forward to 2021, Manifest Green launched its first year as a serious festival cleanup organization. Big Fam was stop number 12 of the year with more on the way. To keep the grounds clean, Manifest Green works nearly round-the-clock. “Our mission for Manifest Green is to maintain the cleanliness and waste of the festivals as efficiently as we can,” Boughner said. “We always make sure the trash bins are never overflowing - we normally take the bags out when they’re about three quarters full, because the dumpsters are usually about ten feet tall. The bags get really heavy and they can rip open - it’s just easier to throw them in the dumpster when they aren’t all the way full.” Due to some people not showing up at previous outings, volunteers with Manifest Green must pay a deposit in order to ensure the shifts are covered. Boughner says this is a strategy that has paid off, and Big Fam was one of their most successful stops yet. “We had three shift leaders, and then three people working under them,” Boughner said. “We had four people on the clock at all times and three rotating six hour shifts. So all day, we had a team leader and three people with that leader that would have spot cleaning bags in their hands. They would go around and pick up microtrash, while also doing their rounds, making sure the bins aren’t overflowing. We always had a squad from 10 a.m. to 4:30 a.m.” Once bags are taken from bins, they are then taken by golf cart to the nearest dumpster. “A huge aspiration is for our people to be able to vibe in a safe and clean environment,” Boughner said. “Nobody wants to be at the stage dancing on cups. It’s a big thing, our motto is ‘Purifying the Atmospheric Vibrations.’ We do whatever we can to ensure that everyone has good vibes.” Although Boughner and company were hard at work making sure trash was off the ground and away from vendors, he did note that the crowd itself was doing a great job of it. “I was really surprised with how mindful everybody was,” Boughner said. “Throughout all the festivals I’ve done this year, there have been some really dirty people - people that will just make piles of trash without even a trash bag. Big Fam was definitely the most mindful festival I’ve been to so far this year in regards to the waste they produced. There was almost no microtrash in General Admission where everyone was camped at, it was really clean.” In the future, Boughner hopes to take bigger steps with Manifest Green, such as an informational booth and an expanded festival presence. Big Fam was stop number 12, and Boughner hopes to make it to at least 20 next year. “We’re definitely looking for more people that want to get involved, because it’s hard to get so many organized for festivals,” Boughner said. “Our volunteers can’t always go to festivals every other weekend, so I’m trying to build a bigger team, and that’s something I’m really working hard on.” More information about Manifest Green can be found at https://www.facebook.com/manifestgreenteam. Staying Green and Clean, Part 2 - Lake Five After speaking with Boughner, I was able to catch up with Kyle Carpenter, the Co-Founder and Vice President of Lake Five. While Manifest Green is responsible for the volunteer staff cleanup, Lake Five provides the necessary infrastructure and logistics, including trash bins and recycling containers. Also a newer organization, Lake Five began its activities in 2020, but became a registered nonprofit this year. “Our first goal is consumer-directed,” Carpenter said. “We hold a variety of events ranging from things like what we did at Big Fam, to cleanups at local parks, trailways and waterways, as well as providing free educational resources to consumers. Obviously someone cannot make a change in their daily life habits without being educated first, so we like to provide free educational resources.” Lake Five also works to help businesses become more eco-friendly through consulting services. “That means businesses who want to be more sustainable, have a smaller carbon footprint, we want to work with them in any way possible to help them meet that goal,” Carpenter said. Long term, the organization hopes to make meaningful eco-friendly changes on both local, state and federal legislative levels. However, the Big Fam weekend was actually the first large-scale operation that Lake Five had joined, having previously only organized park cleanups and similar events. Where Big Fam is concerned, efforts to figure out how many bins would be needed began last year, starting with a test run of about 30 staff members while on the grounds. The data developed from that test run was used to generate a model of how many bins would be needed for the actual event, and where the best placement would be. “Big Fam had their own goals, they wanted to become a leader in being a green music festival,” Carpenter said. “They want to be known for everything being clean from the time you arrive to the time you leave. For a first year festival, it was really good to see that the directors for Big Fam were so adamant about that. They never even hesitated with us - we said, this is the price, this is what we want to do, this is what we think will work. They never second-guessed us. I go to a lot of festivals myself, so this was a great opportunity to combine my passion for the environment and my passion for festivals.” That model was then shared with the staff of Manifest Green to determine the best practices for the weekend. “Basically, we worked hand in hand with them in the weeks leading up to the festival,” Carpenter said. “We showed them where we thought the high traffic areas would be, and as the festival went on, they gave us feedback on where the bins could be moved to. It was basically a lot of coordination between us and Manifest Green, which was fantastic.” Waste and recycling bins were provided by GFL Environmental and secured by Lake Five. Despite some confusion with signage on the bins (both types had a similar black and green color scheme), and potentially hazardous situations with broken canopies from the storm, Carpenter also said the attendees appeared to be largely mindful about their waste. “I think part of the reason for this is that the grounds were pretty much in a bottleneck,” Carpenter said. “You had to walk through the vendors to get to the main stage, so there weren't a lot of places where people could wander off where trash would be missed. Since everyone was going through this main path, it was kind of easy to keep people in this bottleneck, and that’s where we had most of the trash and recycling bins.” In the future, Lake Five aims to have improved signage to better differentiate trash and recycling bins, as well as the possibility of providing attendees with a sustainable welcome package. That package would include things such as trash bags, wooden utensils and eco-friendly stickers, Carpenter said. The team has already been asked to return to the next Big Fam, but for right now, its members are still enjoying a successful first festival appearance. “We never expected an event this large to be our first major outing,” Carpenter said. “All of our local events have been ten to 12 people max, so going from that to an event that has roughly 1,500 people, and the fact that it went off so smoothly with an amazing team, was just surreal. I cannot say enough about how great our staff were. Having this opportunity to have our first real large-scale event was amazing.” To learn more about Lake Five, visit https://www.facebook.com/LakeFiveMi/. KatFish EyeKandy Wonderland - As previously stated, the centerpiece of Big Fam was the KatFish EyeKandy Wonderland, an interactive Alice in Wonderland themed art area with an extra music stage. The Wonderland itself was accessible by walking down a hill into an area known as the “Bayou.” Several different interactive exhibits were on display, such as a projection wall, a telescope, a boathouse, a sugar shack, a misting light up fountain with seats around, and even a full-on library in a separate clearing. Some structures, such as the boathouse, could be entered. There were various pieces of art on display inside. By night, all of the installed art pieces took on a different dimension, as the placement of lights and projectors caused them to appear animated in ways that were not apparent during the day. Small decorations that were scattered about, such as frogs and keys, even inspired some attendees into believing there would be some sort of mystery prize for locating all of them. Some also believed that there was something that could be unlocked with the keys. There were actually no such incentives, but so many people repeated this idea that it eventually became common belief. Some workers of the festival decided to play along with it, adding more credence to that theory. The Bayou Stage area, its musical lineup, and all pieces of art and structures installed in the Wonderland (minus a select few) were all curated by Dave and Kat Fisher, who also serve on the Big Fam Board of Directors. “Many of the art pieces are designed specifically with subtle optical illusions that you might not notice right away if the art were viewed in a traditional gallery setting,” Kat Fisher told me in an interview after the festival. “These paintings are also made with a combination of UV reactive and non-reactive paint to create another layer of movement. These pieces are then placed with sound reactive color changing lights and paired with projections. The intention is that the viewer can sit for a moment and watch the art move and change with light and sound. Art at the festival was paired with seating arrangements to encourage people to sit for a while and to become completely immersed in the experience.” Upon entering the site, viewers could see and interact with various installments just by walking around. Mirrors, floating cubes and keyholes dotted the landscape, along with multiple spots to have a seat and take it all in. Dave and Kat said that part of the idea is to find a comfortable spot and actually experience that art, rather than observing one piece in a gallery for a few moments before moving on to the next one. “We wanted it to spark a memory, or something that seems oddly familiar to you, but just a little different,” Fisher said. “We tried really hard to give you the feeling of being at our home, we wanted people to feel comfortable.” This display area, touted as a “dreamscape” by the Fishers, marked their first large-scale production. However, the project was a culmination 20 years in the making. “KatFish EyeKandy is what really started off as my artistic endeavor,” Kat said. “When I married Dave, I started signing all my art pieces Kat Fish, and then EyeKandy just became everything I made. Then as EyeKandy progressed, Dave started buying RBG [Red Blue Green] lights and we started messing with them to see how it changed the artwork. I pulled Dave in to be part of it with me, and since then, it’s become something we’ve done together. It was Dave’s idea to put projections on the art, and then that became the focus. We developed art pieces specifically designed to have projections on them.” In the last four years, they have displayed their works and created viewing rooms at other events. “We started exhibiting at Sacred Vibrations 2017, that was one of the first shows I had done,” Fisher said. “I did that show as a vendor, but part of what we were doing was that we had the entire tent made up with the color-changing lights, so that people could come in and have the same experience in the vendor space as it is in our home studio. People could really see how the art changed with the lighting.” Other outings included the now-defunct Centennial Nights series, an arts and music event that took place in Mount Pleasant, MI, as well as the off-season Electric Forest gathering in 2020. Due to the COVID-19 pandemic, the couple, like all other staff members, needed to get creative in figuring out how to keep promoting and improving Big Fam. Starting in 2020, several live streamed events featuring the artists on the lineup were held via Twitch, and Dave and Kat both provided visuals for those performances. Like many others, Kat found herself without a job due to the pandemic, so she used that time to fully prepare for the big weekend in advance. “Any time you have a day job and you’re trying to pursue something on the side, you can only put half of your time in it,” Fisher said. “But when COVID happened, I was suddenly laid off from work, and I was able to pour everything into painting every single day. I was trying to take full advantage of that, making Big Fam the best it could be. I worked for over a year - every single piece I made was meant for display at Big Fam, or to be part of the scene at Big Fam.” As previously stated, the EyeKandy Wonderland went beyond a display gallery or a room - it was an entire area of the festival unto itself. But before the Wonderland could be built, the area it was installed in needed a complete makeover. Again, I was given the ground tour back in July, and it was difficult to imagine what the end result would be. A list of tasks had been read to me, much of which involved pulling weeds, razing the landscape and planting new grass. “Once we decided that was going to be the space, that’s when we first started referring to it as the Bayou,” Fisher said. “We wanted it to feel organic and cohesive in consideration of the rest of the property. We spent weeks on this project, we were going up there every weekend. We pulled out a lifetime's worth of ferns to make it safe to walk in barefoot. By the end, we had lush grass everywhere. We had volunteers that helped pull weeds, we had people with four wheelers and different equipment getting the space smoothed out.” Indeed, by the time I arrived at the Bayou, it was completely transformed and unrecognizable. Clearly some serious work had been taking place behind the scenes. Alice in Wonderland has always been a favored motif for Fisher, as well as a favored story. The idea to create a themed art area was combined with the bayou aesthetic. “If Alice in Wonderland had another chapter to the story, where would that adventure be? So we thought, ‘Alice travels to the Bayou.’ We wanted to find a way to mesh those two stories together,” Fisher said. “Everything had a central theme throughout, it all went together. You would see a common theme in every area. One of the first pieces I made when I decided it would be Alice in Wonderland themed was this giant 4x4 clock piece, which looks weathered and like it’s been outside for years, and the frame is covered in moss.” The biggest highlight in my eyes, and in those of many attendees, were the tea parties hosted by actors portraying Alice and the Mad Hatter. Both welcomed guests to a long decorated table with cushions laid about. At that time, I was dealing with some upset stomach issues, but the Mad Hatter passed me a steaming mug of lemon ginger, which calmed my system almost immediately. Little moments like that are always among my favorites in a festival setting - the ones where you find or receive exactly what you need at that time. Alice herself even recited the entire Jabberwocky poem flawlessly, which was a nice touch. Some flow artists performing in that area even took the initiative to dress as characters from the story without even being asked. Those who hung around long enough would occasionally see special appearances from artists on the lineup - Reggae Dub producer Zen Selekta showed up for the tea party one night, while artists like Benji Robot would appear for secret sets on the Bayou stage. Even big-name headliners like Dixon’s Violin would come down to check out the Bayou periodically, according to the Fishers. But none of this would be possible without the help of the production team, they said. “We were fortunate enough to have a group of friends to get behind our idea, and they wanted to do everything they could to see it succeed,” Kat Fisher said. “We owe a lot to our friends and the volunteers that helped us.” In talking about long-term goals, the Fishers told me that they would like to do for other festivals what they’re doing for Big Fam now, with an eventual intention of doing it for something like Electric Forest. But for right now, the Fishers are relishing the fact that they were able to manifest the first iteration of their life's work, and are looking forward to doing it at Big Fam again. Big plans are in the works, but the only way to find out how this project will evolve is to wait and see. “What I really hoped we showed people is that you can follow your dreams at any age,” Kat said. “There’s no expiration date on your dreams. Just because you didn’t do something by the time you hit 30, doesn’t mean that you can’t still pursue those things that you’re passionate about. Don’t ever quit pursuing those things. We put everything on hold when our daughter was born, and after she graduated, that’s when we decided to start doing other things we wanted to do. I hope a lot of people that know our story know that when they were at Big Fam, they were witnessing our dreams coming true, to share that moment with Dave and I.” To learn more about KatFish EyeKandy, click here. Friday After spending the day getting a feel for things, most of the crew wanted to go see Benji Robot at the main stage, a downtempo producer based out of Ann Arbor. Although I remember his set being good, the group that was on before him, WokeZan, actually sticks out more in my memory. WokeZan is an electronic duo consisting of Connor Wilson and Dirk Phelps, who both played shredding guitar licks set to their own beats. The use of live instruments in electronic music is always one of my favorite things to see. I had never heard of them before, but what I saw of their show was enjoyable. I headed back to camp sometime during Benji Robot’s set, at which point a light sprinkling and drizzling swept across the campground. But it didn’t last very long - the cloud cover broke up over the area, and a double rainbow was clearly visible across the sky. Afterwards, I didn’t have anyone I planned to see until the Ann Arbor-based jam band Chirp took the Canopy Stage. I know I’ve seen Chirp play before, but after thinking it over, I can’t remember when or where. But regardless, watching Chirp was my personal highlight of Friday night, and one of my favorite sets of the weekend. After the festival was over, I was able to interview Jay Frydenlund, who plays guitar, writes songs and sings with Chirp, in addition to handling managing and booking duties. Interview with Jay Frydenlund of Chirp “Chirp has been a band since 2015 and we formed in Ann Arbor, Michigan,” Frydenlund told me via Email. “We originated as a group of friends playing music together who shared a lot of taste, though I am actually the last original member. All of the past members, however, have been integral to the development of the band’s style and sound, and we wouldn’t be where we are without their contributions.” Citing influences such as Yes, Stevie Wonder, Steely Dan and the Beatles, Chirp may be a jam band, but their actual sound is a little hard to describe. Their Big Fam set encompassed elements of jam, folk and funk genres. “It’s hard to sum up, as we like to bounce around genres quite a bit, and tend not to say no to ideas or covers regardless of what genre they may fall,” Frydenlund said. Indeed, their energetic set included a cover of “Ramble On'' by Led Zeppelin. After a certain point, Frydenlund and guitarist Sam Naples both entered into a dueling guitar match, both feeding off of each other into a climactic crescendo. Both did so with large smiles, reflecting a genuinely fun atmosphere. “We felt very well received by the crowd for our set Friday night, and I think, I hope that came out in the way we played,” Frydenlund said. “Big Fam was rad and seemed to be a total success from our POV. Things ran smoothly from arriving to playing Friday night through Sunday night when we left. We were blown away by how well curated the festival was musically and artistically, and there was never a dull moment. I can’t wait for next year!” Stormy Shenanigans Sometime after Chirp played, the skies finally opened up and unleashed a downpour, which might not have been an issue normally, except there was now lightning involved. Because of this, all festivities had to be put on hold, and all campers had to retreat to their sites. Unfortunately, this meant that I had to miss Biomassive, an electronic rock group from Traverse City that I’d last seen perform at Sacred Vibrations 2018. Luckily, this was the only set I had planned to see that I missed, and it was due to circumstances out of my control. The experimental bass producer Yheti was due to perform Friday as well, but was cut roughly ten minutes into his set, or so I was told by those who were watching him. Witnesses also informed me that he played later that night, but I was long asleep by then. Remember how I mentioned the cinder blocks for weighing down our canopy? Well, that ended up being the best $6 investment I’ve ever made, as it most certainly would have blown away otherwise. At times, it definitely looked like it was trying to. Although the weather would continue to be sporadic through the weekend, there were no further shutdowns after Friday night, besides a delayed reopening for the Bayou on Saturday. Saturday Highlights Saturday was much kinder to the audience in terms of weather, although it was a lot hotter and much more humid. I would often find myself praying for a light sprinkling or more cloud cover. A little rain never hurts anybody, but after it leaves, it tends to create an even harsher environment, where the air is thick and feels like you’re swimming with no water. But hey, I suppose it’s better than having constant torrential downpours. Luckily, even with the overnight weather considered, there were no outstanding puddles, stuck cars, or any of the other hazards heavy rain can bring. My first set of the day occurred in the early afternoon at the Canopy Stage, which turned out to be Marketing and Communications Director for Big Fam Andrew Martin, performing as “A Tropical Martian.” I previously spoke with Martin in my Big Fam preview article, which provided insight into what to expect. Later on after the weekend, I would have a chance to follow up with him on how he felt the inaugural Big Fam went down. But at this time, Martin was entertaining the crowd with his blend of self-described Funky Tropical Bass House. True to his name, tropical beats infused with trap and funk pumped out of the speakers, accentuated with bright visuals of palm trees, cool shades and neon pink lights. And Martin himself looked like he was having a blast. “That was my time to release all the positive feelings that I had during the weekend,” Martin said of his set. “A lot of the time was spent doing serious business and making sure things were taken care of. That was my one time to let loose, so to speak, and really get to express the love that everyone showed us the whole weekend. It was definitely an unforgettable moment for me. I just hope we can keep putting this passion and energy into this project for years to come.” One of my favorite moments from his set was when he played a remix of George Clinton’s “Not Just Knee Deep,” which has sentimental value to me for its use in the movie Good Burger. With a bright afternoon sun high in the sky and a Lake Michigan breeze casually blowing through, it seemed rather appropriate to have a tropical-themed set at that time. I didn’t watch too many other sets that afternoon, so I used the extra time to peruse the vendor booths. I got samples of CBD massage candles, a back and neck massage with said candles, and browsed the art galleries. Somewhere along the way was a posted food truck, Cap'n Cone, serving Superman ice cream topped with Hot Cheetos(!). I didn’t try any, but everyone I talked to said it was great. I took their word for it. I wasn’t planning on watching the San Francisco-based producer Ravenscoon, someone who I hadn’t heard of before now, but all my friends were talking about how excited they were to see him. I decided to check the show out myself to see what the big deal was, and I can definitely see the hype now. This set was great, but the best part was going WAY down into the middle of the crowd, where a large amount of friends from Kalamazoo had gathered. Down here, we were able to get a real feel for how crisp and powerful the main stage sound system was. Again, it felt like this could have been any other mainstream festival with the production values. Looking behind you and up the hill, you could almost swear you were at the Ranch Arena stage at Electric Forest. But this wasn’t Electric Forest, this was BIG FAM. And Big Fam had some Big production values. And there truly is no better feeling than finding the people you love deep inside a large crowd to watch high-fire bass music with. I’d forgotten what that even FELT like - I’d been away far, far too long. Later, the majority of the crew and I met back up to see a performance by The Widdler, an Austin, TX-based producer who I’ve seen a few times before. I enjoyed the show, I know that much, but trying to describe what this guy’s music sounds like is difficult. It’s bizarre and addictive - sometimes described as deep reggae dub, other times as weird experimental dubstep. A friend of mine even remarked that he’s called the Widdler because “that’s what he does to your brain - he widdles it.” I suppose that’s one way to describe it, but attempting to explain what it was like would simply be an injustice at this point. Anyone who was at that set knows, as well as anyone who has seen him before. Following that performance, the stormy weather started rolling back in, and I was spent for the night. We headed back to home base, lowered the canopy poles, hunkered down, and grilled marinated burgers and steaks into the early hours, thunder rumbling in the distance all the while. Highlight of the evening, you’d better believe it! Sunday Highlights - Before I even arrived at the festival, I already knew Sunday would be the busiest day on my end. Many of the artists that I wanted to see would be within quick succession of each other, sometimes overlapping. That’ll usually happen at least once during a festival weekend, but I can’t remember another time where so many were so close to each other for me. Knowing this, I would have to make some tough calls later on in the day. But first, some of us decided to strike out for Lake Michigan around 9 a.m. that morning. We ended up going out to Platte River Beach on a whim, but were surprised to find it was one of the most unique beaches any of us had ever been to. The Platte River actually bottoms out into Lake Michigan here - both are separated by a stretch of land in the middle, meaning you have to wade through the Platte River to get to the Lake Michigan beach. It’s easy to see why this spot is supposed to be popular with tubers and kayakers in the summer. There was also educational signage posted about native and endangered species, such as the Piping Plover, a rare bird (which I’ve seen once) that nests along Lake Michigan. Although we didn’t see any, we were still careful to keep an eye out. It was a brief interlude in the big weekend, and a very refreshing one at that - another state treasure right in our own backyard. Once we got back, much of the day was spent lounging about with friends and neighbors, enjoying each other’s company and staying out of the sun. But once the ball got rolling later that afternoon, it did not let up until late. The first group on the list was Kalamazoo’s own FENDZ, consisting of Patrick “Large Mouth Bass” McKenzie and Travis Wagner. I’d seen McKenzie perform on his own plenty of times, but never with Wagner as FENDZ. Their set was something else - combining metal, dubstep, live rap from Chicago-based Yung Tact, and spooky haunted house vibes, plus the entire Kalamazoo squad assembled up front, this ended up being one of my favorite sets of the weekend. One reason for that is because it’s been so long since I’ve been able to enjoy music from (and with) the Kalamazoo locals in person that it really felt like being back home for a bit. I’ve already interviewed McKenzie plenty of times, both for the Big Fam preview and for other festivals, so I decided to interview Travis Wagner for the review. Interview with Travis Wagner from FENDZ “It was definitely one of the most fun sets I’ve played, and I think Pat would agree,” Wagner said in an interview after the festival. “It was Sunday and it was still daylight, and you just never know how many people are gonna be at that kind of timeslot. After a three-day weekend, it’s not unexpected if people can’t make it. But everybody showed up from Kalamazoo, we had a lot of people come from the east side and Detroit too. It was definitely a bigger turnout than I expected, and it was a lot of fun.” In terms of the “spooky vibes,” there were a lot of ghostly-sounding synths, and the duo even opened up with a remix of “Dopesmoker” by the infamous metal band Sleep. “Every year, we do a song or two for Halloween, and those always end up being some of our favorite ones, and then they aren’t Halloween songs anymore,” Wagner said. “But we definitely like having some of that spooky stuff going on.” When I last interviewed McKenzie, he had stated that FENDZ incorporates the sounds and styles of the 2012 era of Dubstep and related genres. Since I wasn’t listening to Dubstep at that time, I wasn’t quite sure what he meant by that, but after hearing the set, I think I understand now - a lot of wobbles that are high up on the oscillators. Wagner says they incorporate all of that, and more. “I wouldn’t say it’s old school, but it’s reminiscent of some of those old style wobbles,” Wagner said. “Everything we do has a melody, some sort of melodic element to it. We’re just not big fans of just hard for the sake of being hard, or aggressive. There’s a time and place for it.” But FENDZ goes beyond meshing electronic styles, as they’ve been known to take steps into other genres, as well. This is evidenced by the Chemicals EP released this year, which encompasses an alternative rock style. “We were playing an electronic set, but we don’t make all-electronic music,” Wagner said. “We use a lot of live instruments, and I play with a drummer and a bass player as well to put more rock stuff out. Just blending the genres. I personally like when it’s not just one genre dominating a festival. It would be cool next year to see more of that, like Sunsquabi.” Wagner says future plans for FENDZ include more of that genre merging, as well as the potential for more live instruments at performances. “I think the live set is going to be much more fun, because I’ll have a trombone and a guitar on stage and I’ll be singing,” Wagner said. “We’ll still have Ronnie [Yung Tact] come rap for us. All those things make the show way more exciting for me.” Prioritizing Saturday Sets As previously stated, there was a lot of overlap happening on Sunday night, so I had to pick and choose where I wanted to be, and when. I was able to catch part of an enjoyable show by Daily Bread at the main stage, including my favorite song by him, “Gone on a Purple Cloud.” I then went back to the Canopy Stage to catch Zen Selekta, where most of my friends had all gathered. Zen Selekta was one of my favorite sets at Sacred Vibrations 2018, and I haven’t seen her perform since then. We all enjoyed her deep and heavy reggae dub sounds, which have only become more refined in the last three years. Afterwards, I made the tough decision to divide my time between Viskus at the canopy stage and Sunsquabi, one of the main stage headliners for the weekend. If FENDZ brought the back-home Kalamazoo feeling to their live set, the performance by Viskus was the proverbial homecoming show. Nick Krauskoff was originally performing under the name Psyntimental as a solo artist, staking a claim in the Kalamazoo area for a number of years. The project later became a duo with his friend Trent Nedbal, and ended up being one of the winners of the annual Untz contest in 2018. By winning that contest, the duo were able to play at several big-name festivals that year. Following that circuit stint, he moved from Michigan to the Texas area in 2019 and rebranded himself as a solo artist under the name Viskus. I hadn’t had a chance to see him play since Electric Forest 2018 at the Silent Disco stage, so I was looking forward to seeing how he had developed in that time. Naturally, I had to interview him about Big Fam once it was over. Interview with Nick Krauskoff, aka Viskus We communicated via email after the big weekend, and the first thing I wanted to know about was his biggest achievements since making the switch from Psyntimental to Viskus. “I would say my biggest achievement has been my own personal growth,” Krauskoff said. “The person I am today is not particularly proud of the person I used to be, and the fact I was able to see that within myself and make an effort to be better than that person is something I can take with me everywhere. My label releases, tours and festival bookings are all fantastic achievements for me as well, and I am eternally grateful for all those opportunities. But at the end of the day, those things are very quick and short lived, whereas the person I have become continues to aspire to positively impact the people I come in contact with on a daily basis for the rest of my life.” When it comes to Big Fam, Krauskoff said one of the highlights was playing for people he hadn’t seen in quite some time. “Playing for all my Michigan family is truly special, it’s unlike playing for any other crowd,” Krauskoff said. “I just feel this deeper connection at home than I do anywhere else. Every time I go to select a song, faces pop in my head of who each track reminds me of, and I'll start bringing the track in and just look up at their faces, eagerly ready to give them what I know they like. It's way more personal and allows me to just get into the set more, as well.” With the Kalamazoo family up front once again, I thoroughly enjoyed getting down to the strange sounds Krauskoff provided, especially for the low-tempo glitch stomper “Dirty South” - which also happens to be a collaboration with Ravenscoon. In the weeks following Big Fam, Krauskoff has been hard at work with new releases, including the new “Courage to Fly” EP, as well as a slew of remixes for his single “Gelatinous” (including one by FENDZ themselves). When speaking of Big Fam itself, Krauskoff said he enjoyed his experience. “The way they set up all the vendors in relation to the stages was very well designed and helped make navigating the place super easy and enjoyable,” Krauskoff said. “The people, the vibes, were absolutely unmatched. Nothing beats the Michigan family vibes up in Northern Michigan. The production and sounds were also top notch, as well.” Also, there wasn’t a single other artist on the lineup who had an inflatable wavy arm guy on stage with them. That guy looked like he was having fun, too. Wrapping up Sunday with Sunsquabi and Dixon’s Violin I was worried that I might miss Sunsquabi, an electronic jam/funk group from Denver, since I hadn’t had the chance to catch them before and they partially overlapped with Viskus. But luckily it turned out they were playing longer than I thought, and I was still able to catch a good amount of the show. It was certainly one of the bands I was looking forward to seeing the most that weekend, and judging by the very large size of the crowd, I wasn’t the only one. At this point in the evening, it was getting late and I was exhausted. There was nothing left to do but lay back and let the sounds wash over me. I even got to hear them perform “Just a Little,” my favorite song by them. What more can you say? It was a great show! This was one of those times where I lost myself within the music, mentally begging for it to never end. But when it finally did, Sunsquabi was met with ear-shattering cheers. Another band off the list, and another stand-out performance during a stacked weekend. But most importantly, Dixon’s Violin, the final performer of the weekend, was who I had been looking forward to seeing above all others. Anyone who has seen the electric violinist play can understand why. During my behind-the-scenes tour in July, I was informed that he would be the closer. Following the high-energy set of Sunsquabi, I think I understand why - Dixon served as the “cooldown” for the night, and the nightcap for the weekend. It’s been since the last Electric Forest in 2019, which was also one of the best sets I saw that weekend. It isn’t just the ethereal sounds Dixon provides, it’s also the wholesome messages that he delivers in between songs. He has an uncanny ability to say so much with so little, as well as an astonishing ability to say exactly what you need to hear at a given moment. Much of it had to do with how good it was to engage in activities like live music after such a long time, and why we should never take these activities for granted again. Moreover, after a weekend full of jam and electronic-type music, it was refreshing to hear something completely different being played, even if it was the last performance I’d see. It ended up being my favorite set of the weekend, because at that moment, it was truly what I needed the most. Just like with Sunsquabi, I sat on the hill and let the music carry me away. At the time of this reporting, Dixon’s Violin is on a small tour. If he’s coming to your area, I would highly recommend seeing him if you’re able to. I promise, you won’t regret it. The Next Morning - At this point in my festival career, the process of setting up and tearing down is as efficient as ever. After that, there was nothing more to do but clean up, say goodbye to everyone and take a few last-minute photos. We parted ways and left Lake Ann, elated and satisfied with our experience at a stellar first-year festival. However, there was one last order of business - I needed to follow up with Andrew Martin about how it all went down from his angle. Following up with Andrew Martin, Marketing and Communications Director for Big Fam - Sometime after the big weekend, after everyone had taken some time to rest and recuperate, I was able to speak with Andrew Martin. Aside from talking about the weekend in general, he also provided some insight into what it took to make it run. When we last spoke, he had said that Big Fam would be an experience that even he himself couldn’t fathom, yet. At the start of the follow-up interview, I recounted my experiences to Martin, including everything that you’ve just read to this point, and why I thought the team did a great job, especially for a first-year festival. According to Martin, that’s been the general consensus of the feedback he’s heard since then. “Obviously we can’t control some things, like the bees, but it’s just about making sure we have those logistics down to a T when it comes to those future years,” Martin said. “People really appreciate those things, all the small details like medical and security. We wanted to make sure all our bases were covered to the point where people couldn’t find those minute details.” [Side note - that’s one thing I forgot to mention. There were a LOT of bees.] In terms of turnout, Martin said the amount of tickets sold exceeded expectations. While the team had been expecting to sell about 500 tickets, the actual amount was closer to 1,000, give or take. “That’s an incredible turnout for a community that’s never experienced this event before, for a first-year festival,” Martin said. “It takes a long time to build a brand and community, and it’s good to know that the people we’ve surrounded ourselves with have kept that scene working. It spread a lot through word of mouth, even with other festivals going on around the same time.” I can attest to the fact that their efforts in promoting the festival to a wide audience were successful. Sometime on Saturday, I met a man from Georgia. He told me that a friend of his from Saginaw had invited him to Big Fam, which they decided to attend ahead of a different event out of state. “A friend of mine came from California, there was a decent amount of people that came from Colorado and Florida,” Martin said. “It was amazing that people came from so far away to see what we’ve created. When we first put tickets on sale, it was crazy to see almost nobody we knew on the ticket list. Yes, we knew people were coming that we were friends with. But it was this overwhelming joy seeing people, who we have no idea who they are, coming to support us. We didn’t expect this for a first-year festival.” Being part of the team of an event like this takes a lot of work, both before and during. Martin was kept busy most of the time, aside from performing his own set. “I didn’t even get to go into the Bayou until Saturday, so that’ll give you a little perspective from how much work we were doing every day, including Friday,” Martin said. “We were all so busy in our roles. Some of us, including myself, have never been in this leadership role for a festival.” That said, Martin was still able to find time to enjoy himself, naming a few personal highlights. “There were a lot of sets I wanted to see that I didn’t get to catch, but as far as locals go, the eRoy live band, I got to step in and see that,” Martin said. “All of those individuals are incredible people. I actually pulled up on it and forgot it was happening, and at that point, I actually got to step away and enjoy myself for about thirty minutes or so. What those people put together for their individual sets, let alone a combined band. They blow me away every time, and I loved working with them.” Despite the fact that Martin was kept busy with his own responsibilities, he still feels that the event was a success. “The energy was incredible, I can’t even begin to describe it,” Martin said. “I like to go to festivals myself, but it was crazy seeing a festival and helping to run it from a behind-the-scenes standpoint. I still felt that same energy that I would being an attendee and having free will - I loved it even more, being able to be behind the scenes and putting my love and energy into a festival, rather than going to an event that someone else has created. We got to help set the tone.” I mentioned how I felt the festival lived up to its name, explaining how I kept running into people I knew from various points in my life. “It’s crazy how we can all be apart for years, and everyone gets back together and it’s almost like nothing has changed, to a degree,” Martin said. “I saw people I was decent friends with in college, and they were mind-blown and happy to be there and see everyone. It’s that wholesome energy you have when you get all these people together in one spot. That’s the beauty of the community we’ve created - it has branched from other events like Forest, and other festivals we’ve been a part of. It’s crazy to see how fast that can grow.” Finally, I asked if he could share any plans for the next Big Fam installment. As usual, Martin didn’t want to give too much away, but said the team is ready to begin planning the 2022 edition. “We’ll let everyone imagine what we’ll do in the years ahead,” Martin said. “We have a lot of work in front of us, and we’re all ready to dive back into it and get things rolling for next year. I can't wait to see what this is going to build into and what we can do.” Conclusion Truth be told, I was fully prepared for Big Fam to be canceled again, since most other things had been this year. Even though I had been to a few shows in 2021, the fact that I was able to do any was a small miracle in itself. Especially with the recent cancelation of Wheatland before this event, I wasn’t getting my hopes up. In the months leading up to Big Fam, I realized that I had completely forgotten how to get excited for an event like this. I hadn’t been to one since September 2019, and I had completely forgotten what it’s even like to BE at a festival. In fact, sometime before Big Fam, I realized I hadn’t legitimately smiled about much in the last few months, either. Let’s face it - no matter how you slice it, it’s a scary world out there right now, and the deprivation of my favorite types of events wasn’t helping my mood any. Sure, there were a few shows here and there, and there were also some camping trips with friends, which is great, but not the same. I didn’t realize just how badly I needed this weekend until I got there, and after great personal reflection when it was over with. Might be a no-brainer, but moments like these are what I’ve been needing the most. This is what’s been missing from my life since 2020, and it took me until Big Fam to remember why. Not only did I get to celebrate a weekend away with old friends, I also got to meet new ones in person for the first time and make new ones altogether. And just the fact that we were all ABLE to spend a weekend together after being deprived of each other’s company for so long should not be taken for granted, now or ever. In that sense, Big Fam truly lives up to its name - It’s as much about celebrating old friendships as it is the beginning of new ones. And what better place could those celebrations take place than a setting like this? What more could you possibly ask for? A beautiful site in nature, clean facilities and grounds, friendly people both new and old, and a well-rounded lineup with minimal weather interruptions? Frankly on my end, I don’t think the Big Fam production team could have done any better if they tried. For being a first-year festival, you could have fooled me. Furthermore, I truly believe this was the best weekend I’ve had in nearly two years. With all this in mind, it’s difficult to imagine how it could possibly get any better after the first installment. The standard has certainly been set very high, but if my talks with the staff are any indication, the future of Big Fam is in good hands. I’m reminded of one lesson I learned in 2018 at Electric Forest - just when you think things can’t get any BETTER, they can! I am more than confident that the festival will continue to grow and improve exponentially, and as a nine-year camping festival veteran, I can safely say that this one comes highly recommended from me. In the absence of what I would normally be doing, it was the perfect cap on a golden summer. I know I’m not alone in saying that I’ll be excited to find out what will become of Big Fam next year. Until then, stay safe out there, and I’ll be looking forward to reuniting with everyone in Lake Ann. Happy Big Fam, friends. Until next we meet.

The Police, also known as Gordon Sumner (Sting), Stewart Copeland, and Andy Summers. Sting the iconic bass player, Andy on guitar and Stewart on drums. This trio would make the punk rock industry watch them with every breath they took. Every move they were making well was watched by many with anticipation. In the beginning, The Police struggled just as every beginning act did in those days. Nobody would listen to their records and thought they were awfully strange. It got to that point that they pulled off an act of their own to gain more attention. They were scheduled to play along with another musician on a British TV show at the end of the program. Instead of going out as themselves, they put on weird outfits and masks which immediately drew the audience's attention. Imagine how cool that would be to say that you were at a Police concert even before they were the police - masked up as well! After that, a local talent producer noticed them and decided to give them a chance by making an LP. This LP would end up turning heads in the British punk rock scene. Outlandos D’amour, released in 1979, would be The Police’s epic jumpstart to acclaiming their fame. What’s strange about the release is that it didn’t end up becoming popular until the next year. This album tremendously correlates to wine - as it ages, it gets better. As soon as their electrifying sounds broke loose, so did they, playing rambunctious and enticing shows around Britain and eventually coming to the states. They found success, but just at a slower rate than other groups at the time which isn’t something to be mad about, some things just take time. Amid their career, things started to get ugly in the creative differences department between Sting and Stewart. It got to the point where Stewart would write offensive comments about Sting on his drums to knock everyone away. A good way to channel that frustration I must say! "Do Do Do, De Da Da Da" is all he really could say to him. The band split in the ’90s due to this tension but reunited in 2008 for reunion tours.

WIDR is proud to announce a very special, very dope screening of 2020’s Psycho Goreman on Thursday the 14th at 8 PM--just in time for the Halloween season! Grab your pillows and blankets--we’ve got the food--and settle on in for the rowdiest take on the kids-stumble-upon-alien story you’ll ever see! When Luke is forced to dig his own grave by his nutso sister, Mimi, after having his ass handed to him in “Crazy Ball,” he discovers a gem from Gigax, a planet ruled over by a tyrant called “The Archduke of Nightmares.” The villain comes after them, leaving a trail of bodies in his wake, while a group of elites called the Templars track his every move. But what makes this movie special is the villain’s dynamic with Mimi and Luke. While most movies would have these kids stalked by the monster, this one turns him into unwitting hero, imprisoned in friendship and renamed “Psycho Goreman” when Mimi won’t give up her awesome new gem. Ensuing is a buffet of b-horror schlock, with the comedic sensibilities of 1995’s Mighty Morphin’ Power Rangers: The Movie as ET is perverted to new, Cronenbergian heights. Come for the gruesome dismemberments, stay for the hunky boys, bonkers costuming, and America’s new pastime, Crazy Ball--as well as smash hit, “Frig Off!” as performed by Mimi, Luke, Psycho Goreman and a giant brain on keys. It’s the most fun you’ll have at the Faunce Center this year, and anyone who’s anyone wouldn’t miss it. We’ll see you there, wild child. It’s Psycho Goreman.

Planets, the debut LP from saxophonist, composer, producer, and Kalamazoo native Stratøs is here (well, it will be tomorrow)! In contrast to his previous work on the project DiE - created during the early stages of the COVID-19 pandemic and focusing on isolation, Planets takes a collaborative approach featuring some of Stratøs’ closest friends and mentors. The album brings together the many genres featured including jazz, hip hop, electronic, classical and more through one cohesive narrative. We sat down with Stratøs himself to learn a little more about the project in the following interview. What was your inspiration for this album? I wanted to make an album that was really "collectible" for lack of a better word. I really like collections. The 8 Planets, the 12 months, etc. Gustav Holst is perhaps most famous for his 7 movement suite "The Planets." While I quite enjoy this work, it wasn't necessarily the inspiration behind this album. However, also being a fan of lineage, I tried to pay homage to his melody from "Mars, the Bringer of War" in my track 'Mars (feat. David Binney)." I wanted to best find a way to encapsulate the past 6 or so years of music I've been doing in a complete standalone set. How was it collaborating with so many people on this project during the pandemic? It was an interesting yet fulfilling challenge collaborating with so many different people for this record. I had to write the tunes differently than I normally would. A lot of my music is based in Black American music of the 20th century, which heavily utilizes improvisation. Collective improvisation is better when you are playing with people in real time, so I had to rethink how the tunes would work. I couldn't rely so much on raw improvisation so instead I focused on composition and production, and tried creating elaborate landscapes for people (and myself) to improvise over. What is your favorite song on the album and why? It's hard to say what my favorite tune on the record is but I'd say the one I had the most fun putting together was probably "Neptune." I wrote a melody for my girlfriend and collaborator Julia Moffa to write lyrics to, and built the rest of the tune around that. I worked together with drummer Madison George and bassist Daniel Durst to make a harmonic and rhythmic landscape I'm currently most proud of. I love working with Madison and Daniel, which is a little funny because they have never met in person. However, they both bring an energy that enhances my music to a level I'm always surprised to hear. Working with Julia comes so naturally and it's always a treat to see what she comes up with. The poem she wrote for this piece as well as lent her voice to elevates the tune and gives it a texture it would otherwise be empty without. How did you first get involved with music? I started playing saxophone in 5th grade. They wanted me to play violin because apparently I have long fingers but when it came time to try the instruments out I purposely sucked at the violin, flute and clarinet so that they'd let me play saxophone lol. What do you hope to do next musically? I'm moving to LA in August so I'm hoping to just work the scene. I'd like to keep doing what I'm doing; play saxophone, compose, produce, and do film photography. Just in a major music scene. How has the Kalamazoo music scene influenced your playing/production? Kalamazoo is where I learned a lot of important lessons as a musician and a person. I think the unique thing about Kalamazoo is that there isn't a clear cut "sound" of the town. Everyone does their own thing or finds other people who want to help them do their thing. I just try to keep up with everyone else and make the music that makes the most sense to me. Is there anything else you would like to share about the project? I'd just like to thank each person that contributed to the record. A lot of people contributed their time and energy to this project and it continually blows me away that people would do that to help me. If you're in NYC on October 20th, my band is premiering this music live at Rockwood Music Hall. Hope to see you there! Tune in at 2 PM on Friday to hear Planets live on-air!

I wanna live. I also wanna GIVE you an insight into this wonderful track by Neil Young titled: "Heart Of Gold". Beginning with the basics, this track was released off of the album Harvest Moon in 1972. The album also includes "Old Man", another highly favored track of Neil Young. The record commences with a strong strumming pattern and harmonica which exposes the powers it has to reach so many. It tells the story of being a miner for a heart of gold, the motivation to search for a soulmate when time seems to be catching up to him, being unlucky in love and shouting the mantra to keep looking for it. An overall solid message - to never give up and keep searching. Even though you may be growing old, there’s still time. From him being in Hollywood to Redwood (not in Kalamazoo unfortunately) to thinking he’ll cross the ocean for a heart of gold, the drive to find love was high in this period of time. The story he shares is painfully accurate, turning his struggles into a song. It's incredibly mind-blowing how artists can take a spin on their own lives and write a great tune that reflects it so well. The great blend of country and rock along with folk is solidly founded with the poet and dreamer-like lyrics. Before I read the details behind this record, I envisioned a totally different message. Having a heart of gold to get you through anything. Incorporating resilience and strong will to complete what is necessary for you in your daily life. Not paying much mind to the things that distract you from doing what you love. It’s so great to have that with music. To interpret it your own way and find out the real source after some research. That’s one component that’s so exhilarating about music like I’ve said many times before. One of Neil Young’s fans became a rock and roll star himself. You may know him as Kurt Cobain. Kurt was infatuated with Neil Young in his adolescence. Kurt wrote a letter shortly before his passing in April of 1994. One line includes the lyrics of Neil Young’s "Hey Hey Hey, My My": “It’s better to burn out than fade away.” There’s an excerpt of an interview you can find when searching the two names together. Neil had actually tried to get in touch with Kurt shortly before his passing. He heard in a statement that Kurt was tired of playing and doing the same old thing. Young wanted to reach out and tell him something along the lines of, ‘It’s okay. It’s normal to feel like that. Play whatever you want to play.’ It tragically was too late for Young as he was informed on the day when Kurt passed. When Neil found out about his letter, it messed with him. It’s crazy how these two were so connected in finding their hearts of gold, but never got a chance to sit down and talk about it.

Rubber Band Moments or: the effect of music on self-talk: a narrative itinerary [with the music of Spellling and Alexis Marshall] by Josh Vesper. On September 19, 2021, a moment of understanding was realized. This moment was not a pointillistic spec of ink relative to the greater landscape of a personal storyboard. No. I hate pointillism. //The moment was a hot rubber band, stretching, pulling, and sculpting itself across the hours of the day. The melting rubber sept into every groove, nook, and cranny in its path. // Yes. That was the moment. 11:00 AM Wake up. It’s late. // The internal dialogue deafens. // Think straight. Stretch. Think right. Think less. Not that. Not that either. Think more. More. more. More!! Just right. 11:30 AM I cannot stay trapped here. Pull the shelter back and away. I cannot operate this machine today. Craving organic movement. Travel on foot. Where are we going? Anywhere but here. Do not forget your glasses you must have Vision. Do not forget your journal you must have Voice. Wired headphones as intravenous therapy. [PLAY] - [Spellling – The Turning Wheel] stave off the dehydration. 12:00 PM The walk is brisk, but unhurried. No screens, just feelings. [Spellling – TTW-“Little Deer”] Feelings are terrifyingly beautiful. Who is the little deer? Am I the little deer? Maybe I am the hunter. “Little deer, little deer, the arrow hurts to fly to you. How do I fear, little deer? To take the precious life from you away.” I do not want to be the hunter. The hunter has an honorable duty, and I do not envy the honor. The world passes me by, I pass by the world, life in synchronicity. 12:30 PM Like a beached whale, I have arrived. Whether you like it or not. [PAUSE] I can hear the surface level interactions again. How are you today? So nice to see you! Ope do I really need another coffee today? Oh shucks! I guess so. Suppress the urge to vomit. I need to go back to that dreamland. The cathartic absence of reality launches me higher than any drug could ever wish to. Spend another dollar. Another dollar. Another dollar. There are worse addictions to have. Do not fear, little deer, you have those too. [PLAY] - [Spellling – TTW – “Boys at School”]. With the press of a button, optimism is no longer dead. “I hate the boys at school. They never play by the rules.” I will never exist within a prison of rules. You. Must. Leave. Now. 1:00 PM I seek no destination. Just move. Fluid and clean and natural. Just move. [Spellling – TTW – “Sweet Talk”]. “I hear the musical words. In the arc of a rainbow. In the spider’s harp.” [STOP]. //I am no longer deaf.// I hear the wind and the birds and the cars and the beggars and the salutations and the yesterday rain and the wine glass clinks and the sweet nothing whispers. And I walk in the blissful silence. 1:15 PM Silence appears most often in places of discomfort. Thank God the church gate is open. 2000 years of religious dogma casts shadows over the meticulously cared-for shrubs, the ornate fountains, and cobblestone crucifixes. I have the journal. Project Voice in the silence. Project Voice in the silence. Project Voice in the silence. 2:00 PM Church is dismissed. I must walk “home.” Must. Musty. Dusty. Walk “home.” My dreamland meets its antithesis. [PLAY] – [Alexis Marshall – House of Lull. House of When – “Hounds in the Abyss”] “Are you the one letting the air out the tires of my car? Are you the one breathing on the other side of my bedroom door? Are you the one walking across the mouth of my open grounds?” thoughts untamed. uncontrollable conversations with myself. this young man is paranoid. trademark on that pussy™. trademark on that pussy™. trademark on that pussy™. The abyss of reality returns, I am “home.” 2:30 PM The door opens unwelcomingly. [Alexis Marshall – HoL.HoW. – “It Just Doesn’t Feel Good Anymore”] “Don’t get up. Don’t go out. Don’t touch anything. Don’t look at anyone. Don’t look at anything…You have OBLIGATIONS. Stay where you are. You have OBLIGATIONS.” I reside in the prison of rules. //obey. collapse. cover your eyes. the kitchen floor has never felt more comfortable//. no Vision. fear is an unforgiving god. I fear it. they cannot see what I see and what I see is everything in the nothingness of blindness. the tears flow //let them// I do not want to cry //let them//let them//. [STOP] open your eyes. there is still light here. the moment has passed. you are safe now.