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FUZEnation’s Disruptors & Game Changers Panel is presented by MODALINA Magazine: an award-winning, luxury lifestyle, fashion and jewellery magazine. Produced and published in the Waterloo region, MODALINA boasts an internationally-recognized team of writers and photographers.

“MODALINA Media Group is excited to partner with FUZEnation on this first ever event. We recognize the importance of showcasing and celebrating our local trailblazers and influencers; sharing their stories and accomplishments through this ground-breaking summit seems naturally fitting. We are honoured to present Disruptors & Game Changers, and celebrate Waterloo as a centre of technological excellence,” says Krista Bozoian, Director of Content and Advertising, MODALINA Magazine.

To coincide with FUZEnation, MODALINA magazine introduces MODALINA, Fall 2016 – The Shift Disturbers Edition which features several of FUZEnation’s Disruptors & Game Changers panelists. “In this issue, we focus on the positive aspects of disruption and change. Industries that shift the perception and direction of our world, and how we operate within it. Individuals who are game-changers, creating a paradigm for others to take heed and follow or risk being left behind. So naturally, when we decided to do something a little unexpected that integrated the worlds of high-tech and high-fashion, we didn’t need to look any further than our own backyard. Through this fusion, ‘Tech Tonic’ was born – – a fashion editorial spread that features CEOs & Founders of local (Kitchener-Waterloo) tech start-ups that are having seismic impact through the global adoption of their product and service offerings. Mix young, smart, bold thinking entrepreneurs with the latest fashion trends in haute-couture and the combination is sure to get noticed,” says Marina Garabetian, Publisher/Founder, MODALINA Magazine.

The speaker list is pretty astounding, with some of the world’s most prolific tech icons as part of FUZEnation’s Speakers Series: STEVE WOZNIAK, Co-founder of Apple Inc., BIZ STONE, Co-founder Twitter, Co-founder & CEO Jelly, and ALEXIS OHANIAN, Co-founder of Reddit. We are also pleased to welcome respected broadcast journalist and Kitchener native LIZA FROMER, who will serve as moderator for Biz Stone’s Q & A.

FUZEnation wraps with a musical celebration at 41 Ardelt Place in Kitchener featuring headliner KYGO, one of the leading EDM artists in the world. Kygo has reached over 2 billion Spotify streams including remixes, a testament to his massive success. Don’t miss the chance to catch this extraordinary talent in an intimate unique setting when he hits the stage at 41 Ardelt Place.

Tickets Available Now at Frontgatetickets.com and FUZEnation Speaker Sessions – $39.50 with the FUZEnation Concert with Headliner KYGO – from $55

Rolling Stone: You’re from Louisville, Kentucky, but lately you’ve been living in Los Angeles. What’s that like?

Jim James: There are so many people here trying to make their dreams come true, and it’s incredibly inspiring. I’m renting an Airbnb from an artist who kinda built the place. There are two 40-year-old giant desert tortoises that live here, and they’ve been amazing to live with. They don’t need you, but they also enjoy being around you. They’re so content to do very little, and I’m trying to learn from them: “You’re just gonna climb out of your hole and sit in the sun?” “Yeah, that’s all I’m gonna do today.”

Rolling Stone: You’ve fronted My Morning Jacket for almost 20 years. What have you learned about leading a band?

Jim James: The biggest part, as cliché as it sounds, is just being honest and never carrying a debt with anybody. If someone makes you mad, tell them. Work it out. Don’t carry it around like a burden. The same with love. If someone makes you happy, let them know how awesome they are. You can never say “I love you” enough.

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Faster Louder: I wanted to ask about the Star Wars album as well. Obviously the surprise release of that record was a little bit of a gamble but it created a lot of buzz around the record. I guess it maybe feels, from an outsider’s position, that the last couple of Wilco records have maybe slipped by, like you guys have become victims of your own success and that there’s a consensus of “Yeah, it’s a great record, but it’s just a Wilco record.” Was that the intention to shake up that idea?

Jeff Tweedy: Yeah, I think that the … I don’t know what people are thinking about the band as a whole. From our perspective, people keep showing up just to see us play and people tend to buy our records at a time when not many people are buying records and we feel very fortunate to be in a position where we could do whatever we wanted. I think, that being said, there are a lot of expectations that go along with being a band for a long time and having put out many records. Everything about the release and the way the record was packaged, everything about it, was really an effort to try and subvert expectation and to get people that care about the band to lead the discussion or the dialogue about the record.

With all due respect, I tend to think people like yourself are the ones that look at it like, “Oh, they just put out another record and it’s good.” Fans don’t think that. People that get paid to think about stuff like that think that, because your job is to find something new and be the cool guy that found the new thing. Wilco doesn’t really fit that category as much anymore, so there tends to be a certain amount of, I don’t know … I would never complain that we’re taken for granted but, certainly, within certain professional classes, that would be the case.

I didn’t mean to imply that I’m not excited when a new Wilco record comes out. I’ve been a fan for a long time and I always look forward to a new album. It just feels that there isn’t an explosion of attention and hype now the way maybe it did around Yankee Hotel days.

That’s bullshit. That’s complete bullshit, because, first of all, the internet wasn’t anything close to what it is. There was no social media when Yankee Hotel Foxtrot came out and people were telling us that the record was the end of the band for months and when the record finally came out, nobody gave a shit. It did well, but it didn’t do well right away.

Now everybody looks back on it and thinks that it was some sort of watershed moment and the record has sold a lot over this time period because of the story and it’s a good record. The whole idea that, I don’t know, that’s just ridiculous. That’s not what happened at the time. There was a ton of coverage, but it wasn’t social media buzz or anything.

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In 1983, Mark E. Smith gave a talk on Greenwich Sound Radio on the – ahem – proper guide to writing. Who could argue with these tips?

Hello I’m Mark E. Smith and this is The Mark E. Smith ‘Guide To Writing’ Guide.

Day-by-day breakdown

Day One: Hang around house all day writing bits of useless information on bits of paper

Day Two: Decide lack of inspiration due to too much isolation and non-fraternisation. Go to pub. Have drinks.

Day Three: Get up and go to pub. Hold on in there a style is on it’s way. Through sheer boredom and drunkenness, talk to people in pub.

Day Four: By now, people in the pub should be continually getting on your nerves. Write things about them on backs of beer mats.

Day Five: Go to pub. This is where true penmanship stamina comes into its own as by now, guilt, drunkenness, the people in the pub and the fact you’re one of them should combine to enable you to write out of sheer vexation. To write out of sheer vexation.

Day Six: If possible stay home. And write. If not go to pub.

I love Underworld. The second version of them, not the Change The Weather-era, but then, who does? And I don’t mean that as a slight. It’s just their electronic Underworld just happens to be so stunning, it blew anything else they could have ever done in their wake. I’m always fascinated by artists who make a striking move, a dash across a new terrain with bravado, or skill, or fear, just to see what’s on the other side. Karl Hyde did one of those moves.

Do you remember one record that flipped the switch for you guys, something that made you understand this other world of dance music that was going on while you weren’t paying attention?

It was actually house on pirate radio. In the late ’80s, when we were making the second album [1989’s Change the Weather], we were hearing pirate radio. And the pirate radio stations were playing acid house.

Acid house, to me personally, was like the first time I had heard Tangerine Dream, the first time I had heard Hawkwind. These very long, soundscape-y, rhythm-driven, almost electronic orchestral pieces. And that’s what acid house sounded like to us, to me. It was like, “Oh my God, this is like the fruition of all the music I ever loved as a kid.” And it’s a massive movement.

And it’s underground, and yet it’s huge, it’s completely outside a culture. Revolutionary, really. Because it was self-sustaining, it didn’t need the music industry. It was pulling in tens of thousands of people. It was selling really large quantities of records, and yet, it wasn’t even showing up in the charts. It was fantastic.

When we were making that second record, we went to see Adrian Sherwood. And it blew us away, mostly because of what Adrian did with the sound system… you know, turning off the highs and the mids and the lows, and kind of playing with the sound. He was using the sound system like an instrument.

Shortly after that, we were taken to our first rave, and that completely sealed it for us. Because there we were seeing an audience that wasn’t looking at the stage. There were no lights on the DJ, none at all, they were all on the audience. The audience was the main act. And then in other rooms, there were bumper-car rides, and different videos being played… it was like the ultimate Pink Floyd gig. And it just felt like we were completely on one side of it. I wanted to be part of it.

But it was Rick who had finally had enough, when we got dropped the last time [afterChange the Weather] by Sire. He just said, “I can’t [be in this version of Underworld] anymore, I’ve got to follow my heart.” And that’s where he took us, very clearly, into clubland.

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R.E.M. guitarist Peter Buck discusses the band’s extensive archive, his friendships with his fellow members and why he’s happy to be done with major labels.

When the three remaining members decided to break up, Buck marked the occasion by compiling a list of the things he had come to hate, during R.E.M.’s lifespan, about the music business. “It was five pages long,” Buck said.

And what was on that five-page list? “Everything,” Buck replied curtly, sipping orange juice in a bar as his friends the Jayhawks were conducting a soundcheck across the street. “Everything except writing songs, playing songs and recording them. It was the money, the politics, having to meet new people 24 hours a day, not being in charge of my own decisions. But more than anything else, I hate the business, and I didn’t want to have anything to do with it.”

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Elastica singer Justine Frischmann gave a rare interview, speaking about the Britpop band and her new career as a painter. Frischmann’s band split up in 2001 after two albums (1995’s ‘Elastica’ and 2000’s ‘The Menace’). Since Elastica’s demise, Frischmann has lived mainly out of the public spotlight, rarely giving interviews. She returned to music briefly in 2003 to co-write songs for MIA’s debut album. It is worth remiding ourselves how powerful of a presence her and the band was for the time, and her opportunity to reinvent herself was taken, and she’s much happier since those heady days.

“I don’t really have any desire to make music, to be honest. I really feel I’ve found my medium [with painting]. Also I think I’m a socially anxious person. I kind of deal with it but actually I’m really happy on my own. When I’m in the studio and things are unfolding and exciting I have that feeling that I’m exactly where I’m meant to be. I don’t think I ever really had that with music, it always felt like a rollercoaster ride and there was going to be a horrible smash. I got to go all over the world and have a real snapshot of the planet in ’95, ’96, and I got to meet a lot of my heroes. One of the most valuable lessons was to realize that success isn’t necessarily enriching or enlivening. We live in a culture where there’s so much emphasis on celebrity and we all grow up feeling like being famous must be really great.”

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CBC Radio 2 today announced new hosts for RADIO 2 MORNINGS and WEEKEND MORNING. On October 3, popular broadcaster Raina Douris will make her return to CBC to take the reins from Tom Power as the new host of RADIO 2 MORNINGS. After guest hosting on WEEKEND MORNING for several months, Angeline Tetteh-Wayoe joins as the new host, following the departure of former host Talia Schlanger for NPR. Also returning to Radio 2 this fall on November 4 is weekly R&B show MARVIN’S ROOM, hosted by Amanda Parris (CBC’s EXHIBITIONISTS).

“It’s an exciting time at CBC Radio 2,” said Mark Steinmetz, senior director, CBC Music. “As the saying goes, with change comes opportunity, and Raina, Angeline and Amanda are fresh and relevant voices who will engage and entertain Radio 2 listeners with their deep love and knowledge of music.”

Winner of NOW Magazine’s Best of Toronto Readers’ Choice poll for Best Radio Personality for the past two years, Douris joins CBC from Indie88, where she hosted Mornings with Raina & Matt. A rising star in broadcasting, Douris started her career at Corus Radio after graduating from Ryerson’s Radio and Television Arts program, before earning her first on-air job at 102.1 The Edge in 2009. She also created the video series Rain’s World, where she conducted unconventional interviews with musicians from her home. No stranger to CBC audiences, in 2012 Douris hosted a CBC Radio 3 show, which also aired on SiriusXM 162, and she served as guest host on RADIO 2 MORNINGS with Tom Power. Douris has served as a jury member for the Polaris Music Prize and JUNO Awards since 2014.

“The CBC has always been dear to my heart, and I can’t wait to return and share my love of music and stories with Canada,” said Douris. “Waking up early is a lot more fun when you know you’re doing it with the entire country!”

After graduating from the Northern Alberta Institute of Technology’s Radio and Television Broadcast Arts program, Tetteh-Wayoe got her start at Edmonton Radio Group working as a production assistant, promotions assistant, operator and part-time announcer. Following that, she moved to Astral Media Group, where she landed her first full-time gig as host of the evening show on Vibe 98.5 (98.5 Virgin Calgary). In 2010, Tetteh-Wayoe made the move to Toronto to host Flow 93.5’s The Beat of Toronto. For the past several months, she has served as guest host of WEEKEND MORNING.

“I’m thrilled to be hosting the weekend morning show on Radio 2,” said Tetteh-Wayoe. “I’ve been working toward this for my entire career and I’m beyond excited to share my passion for music, as well as stories and discovery, with listeners across Canada every weekend.”

RADIO 2 MORNINGS (weekdays 6 – 9 a.m. / 6:30 – 9:30 NT) offers listeners the widest variety of music on the radio – from the latest emerging artists, as well as classic tunes from the icons of the music world. RADIO 2 WEEKEND MORNING (weekends 6 – 9 a.m. / 6:30 – 9:30 NT) features an eclectic mix, from adult alternative to soul to folk and beyond, from familiar artists known and loved by Canadians as well as emerging musical talent.

Launched in July 2016, MARVIN’S ROOM (Fridays 8 – 9 p.m.) is a weekly CBC Radio 2 show that explores the world of R&B, from neo-soul to trap soul and everything in between. Inspired by the studio where Marvin Gaye recorded much of his legendary music and by the more recent Drake song of the same name, the show is a one-hour journey that brings back the old school and introduces what’s new. From Patti LaBelle to Party Next Door, host Amanda Parris is the guide for a whirlwind journey through R&B. The new season will premiere on Friday, November 4.