Citywide Blackout

Five by Five—Baxter Hall heads to Nashville

citywidemax@yahoo.com (Citywide Blackout) — Thu, 15 Oct 2026 18:02:13 +0000

By Max Bowen

Boston singer-songwriter Baxter Hall was invited to perform with the Nashville Symphony as a featured soloist for the opening classical weekend at The Schermerhorn Symphony Center from Sept. 11-13.

Described as a "rising star" by the Nashville Symphony, the appearance arrived just before Hall releases his new EP, “The Work,” a record of emotive and engaging indie folk-rock that centers around a theme of going no-contact with a parent and is now streaming everywhere.

Artist Links: 'The Work' Lyric Video x Homepage x Instagram x TikTok x Spotify

Let’s begin with how this performance came to be.
I was fortunate enough to be approached by the Nashville Symphony Orchestra to participate in their opening classical weekend as a featured soloist. It’s my understanding that their intention was to hire modern folk/country vocalists to bring a contemporary approach to these traditional American folk songs which were arranged by Aaron Copland.

How did you prepare for this? Were you nervous or anxious about it?
I’m really excited for this performance! I have been rehearsing independently and with my vocal coach.

Have you seen the Nashville Symphony before? What’s your take on them?
The Nashville Symphony Orchestra is a prestigious organization. I am beyond grateful and honored to collaborate with them.

I read that you have a new EP out soon, “The Work.” What can people expect?
Yes! I’m thrilled that this EP is finally available after it was released on Sept. 18! You can expect a concept EP that dives much deeper into the themes of “The Work” single. Throughout these songs I share a wider range of emotions that come with this topic.

Did this album take you in any new directions?
I feel like this body of work brought me back to the most authentic depiction of my sound. It has folky acoustic guitar picking and strumming, but also has electric riffs and solos. I also feel like I opened the floodgates, tackling some of the heavier subjects in my life, and that will allow me to go there with my songwriting again in the future if I want.

Five by Five—Jonas Bjerre shifts musical gears with ‘Hana Korea’

citywidemax@yahoo.com (Citywide Blackout) — Tue, 06 Oct 2026 01:43:36 +0000

By Max Bowen

Recently, former Mew frontman Jonas Bjerre released the ethereal and original motion picture soundtrack album “Hana Korea.” Previously, the album’s lead single “Hike To The Sun” emerged as the centerpiece of the new record, featuring the vocals of Yeohee Kim.

After digitally releasing on Aug. 21, the soundtrack album will be followed by a vinyl release on Nov. 20 via Invisible Hands Music. A new Korean-Danish movie directed by Frederik Sølberg, the accompanying music of “Hana Korea” evokes intense emotional longing, synchronizing with the movie’s plot. Highlighting the challenges a North Korean girl faces in exile in South Korea, the album sees Bjerre shifting away from his indie-rock past and trading it in for a more simplistic, drone-heavy instrumental-music expertist.

Want to know more? Then visit https://shop.jonasbjerre.com/.

How did you come to be the person behind the soundtrack for this movie?
I had met director Frederik Sølberg on a few occasions, but didn’t know him super well. He reached out to me, I suppose because of my work with Mew, and some of the scores I have made over the years. Felt that I was the man for the job :)

How did you capture the feel of the movie in your music?
The original pitch was “electronic, cold, and alienating.” We wanted to capture the mental state of the main character, and her experience of coming from North Korea into South Korea, how different that world felt to her. So I initially used some of my vintage digital synths, as well as a lot of modular synths, but eventually we started to add some more natural sounding elements, like strings and human voice.

What was your take on the movie?
Well the movie was still being edited as I was working, and this made it a constantly changing thing. I was really into the idea of capturing the atmosphere of the movie, but we quickly discovered that it simply became too cold and bleak, that it needed some humanity, so the music gradually becomes more emotional throughout. I’m really happy with the mix of those elements.

Is there a particular song that connects with you?
I quite like the main theme, it has this feeling of the unknown, something about to happen, and these polyrhythmic pulses that drive it forward. Also, there are a couple of scenes taking place in a Spanish restaurant in Seoul, and I recorded these flamenco-inspired vinyl string guitar pieces for that, which was quite new for me, and very enjoyable.

How was it working with Yeohee Kim
It was great! We did not actually meet in person, just had meetings online. She recorded her parts in her studio in Berlin, and I mixed the song in Copenhagen. That song came to be because Frederik wanted to have a real song in the end credits, and he had this guitar figure that had a nice innocence and hopefulness to it. I then came up with a melody and added more instruments but we kept the production sparse to keep its vulnerability. The lyrics were based on some key words from Frederik, and are meant to capture the contrast between her old world and her new one. Yeohee Kim added the Korean words and it just turned out so lovely!

Five by Five—New book provides a wider view of marriage

citywidemax@yahoo.com (Citywide Blackout) — Tue, 06 Oct 2026 01:26:45 +0000

By Max Bowen

Part crash course in feminism, part social guide, part memoir and part manifesto, “A Feminist Guide to Marriage” (Goldsmiths, Nov. 10, 2026) by Suzanne Leonard is for couples who want to know marriage better and do marriage better. Answering frequent questions about how to approach sex, money, children, non/monogamy, and more, this book will help incorporate feminist ideals into romantic life.

Written by a scholar of popular culture who has been teaching for 25 years and married to a man for 15 years, the book shares stories from real people about everything from dating to divorce, with chapters on sex, money, children, and monogamy, among others.

Visit www.suzanneleonard.com for more.

How did this book begin?
Ever since I was 8, when I watched Princess Diana’s wedding on television, I’ve wanted to get married. Even after I grew up, I couldn’t shake the feeling that my life wouldn’t be complete until that happened. As I became an expert in gender studies, I thought a lot about whether that aspiration conflicted with my feminism or my politics. I wanted to write a book to show myself and others that this wasn’t necessarily the case.

I call the book part crash course in feminism, part social guide, part memoir and part manifesto. It’s meant to help readers learn about feminism, without it seeming like this scary, off-putting ideology. I wanted to clear up the misperception that feminism destroyed marriage and that feminists hate marriage.

What is the feminist viewpoint on marriage as it is now?
For centuries, married women didn’t have rights over their money, their property or even their bodies. As a result, a lot of feminists thought marriage was an oppressive institution; some even wanted it abolished. But a lot has changed in the last few decades, and feminism has changed, too. For one thing, gay marriage has been legalized. Married people can still have intellectual, financial, and sexual freedom, while at the same time building an intimate life with a partner.

Although people don’t generally think of it this way, marriage is the most political thing most of us will ever do in our lives. It determines how we move through the world—meaning how we see ourselves and how others see us. It can dictate our names (although usually it’s the woman who changes hers), where we get our health insurance and how much money we have. No picture of marriage is complete without this wider context.

What is the feminist approach to raising kids?
The biggest misconception that surrounds this topic is that feminists believe childcare and domestic labor must be shared equally. Frankly, that’s impossible. What we do believe is something that I call the $200 dyad, which comes from the advice that my husband and I got from a therapist when I was pregnant with our daughter. (The session cost $200 and we never saw the therapist again because he was so helpful.)

The therapist advocated that each parent must have an individual relationship with their child, one free from interference from the other parent. They must be trusted to keep the child alive, essentially, no matter how many lists the other parent wants to write. My husband and I both have individual dyads with our daughter, and neither of these is more meaningful than the other. Both dyads are key to keeping her – and us – healthy and happy.

What would you say are some of the more important lessons to be found in the book?
Here’s a list of some of the things I haven’t mentioned yet, but I think are key:

Human relationships are the best things in life.
We can’t make a better world without thinking about how we conduct those relationships.
While not everyone should—or wants to—get married, it’s an institution that doesn’t seem to be going anywhere.
Feminist insights can change the way we live. They have certainly changed my life, which I illustrate throughout the book.
Learning more about what feminism has to say about marriage not only enriches our lives, but also those of our friends, families, and communities.

How is non/monogamy addressed in this book?
I dedicate a chapter to this topic, which is titled, “Feminist’s Knew About Consensual Non-Monogamy Long Before You Did.” The reason I say this is because there was a group of women in the 19th century who advocated for what they called “free love,” meaning that men should not feel ownership over their wives’ bodies. Some feminists even advocated for a version of what we would today call consensual non-monogamy, which is essentially the presumption that partners agree to have sexual and/or emotional attachments outside their primary relationship.

I’m often asked if a feminist approach to marriage includes non-monogamy. The short answer to this question is “not necessarily, but maybe.” There is also good evidence that non-monogamous couples have broader social networks, less jealousy, and more transparency in their relationships. That said, non-monogamy is definitely not for everyone.

Five by Five—Family is at the heart of “My Guardian Dear”

citywidemax@yahoo.com (Citywide Blackout) — Wed, 30 Sep 2026 19:39:27 +0000

By Max Bowen

Inspired by her desire to teach children to connect with their own creativity, friends, and faith, debut author Brittany Druker is releasing “My Guardian Dear” (Blue Hat Publishing, October 13, 2026). This interactive picture book consists of a fun rhyme scheme, vivid illustrations, activity pages, and collectible trading cards.

This picture book shares the story of a boy who learns to call on his guardian angel for help in both big things and small, including his dearest wish: becoming the MVP of his basketball team! Thanks to an easy-to-remember prayer, he learns to have faith that God will guide his steps, and he learns to share his faith with his friends.

Learn more at https://thehive5.com.

What was the inspiration for this, your debut book?
My family is truly at the heart of this book—from my grandparents watching over us in heaven to the kids I’m lucky enough to raise and learn from every day. They’re my hive, and they’re the reason this story came to be. “My Guardian Dear” is actually part of a larger project called hiVe5 (www.thehive5.com), which is all about inspiring kids to connect through shared faith, gratitude, and creativity, no matter what season of life they’re in. The book comes with three angel prayer cards—one to keep and two to give away as tokens of thanks to the people in their lives who support them and show those everyday “guardian angel” qualities.

How do you frame a teaching of creativity, friends, and faith for a younger audience?
For me, it’s all about making it fun and accessible. I use story, rhyme, and playful illustrations—plus those three special prayer trading cards kids can actually share with others. When you mix creativity, friendship, and faith in a way that feels like play, it’s amazing how naturally kids connect with the message.

I like the idea for the playing cards. How did this come about?
The inspiration for the prayer cards comes from both sides of my family life: my nana’s cherished collection of traditional mass and prayer cards, and the sports trading cards my kids and husband love to collect. My nana was a devout Catholic, and even in her final years—bedridden, blind and nearly deaf—her spirit was unshakable. She was gracious, funny and always thinking of others.

During our long talks, she’d often ask me to read her prayer cards aloud. One day, she chose the Prayer of St. Francis and explained why it meant so much to her—how she wished everyone could live by those words. Hearing that prayer, and watching her embody it even in the toughest times, deeply moved me. I took a photo of that particular prayer card and began sharing it with friends, either by talking about it or sending the image in a text. I saw how meaningful it was to pass along a piece of faith in this simple way. As a mom of three, I wanted to create a way for kids to learn and share prayer, too. That’s how “My Guardian Dear” took shape—including special prayer trading cards just for kids, so they could carry that message and share it with others.

Tell me about the process of working with Justin Dunn for the illustrations.
At first, I thought I might illustrate the book myself, but I’m so grateful Justin came on board. By the time we connected, I’d already gathered a bunch of sketches and ideas for the book’s look and feel. Justin jumped right in, took in my vision, and then worked his magic—he brought new perspectives and made everything even better than I’d imagined. We started with sketches of the main character, our boy, and seeing those first drawings was when the book really started to come alive for me. The whole process taught me so much about how creative projects evolve—bit by bit, and then, suddenly, all at once.

What’s the message that you hope to leave with the readers?
I hope readers are inspired to say the prayer, to look for the “angels” in their own lives, and to connect with others through faith and creativity. Write the letter, take the shot—whatever it is, just try. Even if things don’t turn out exactly as you hoped, be grateful. Sometimes the lesson or blessing is in the journey, and that’s what helps us grow and share our faith with others.

Five by Five—Girl Pow-R goes to the next level

citywidemax@yahoo.com (Citywide Blackout) — Wed, 23 Sep 2026 21:43:54 +0000

By Max Bowen

For nearly a decade, Girl Pow-R has proven that young performers given real training and real stages can accomplish extraordinary things, earning a JUNO nomination, more than 450 live shows, and streams in 240 countries around the world along the way.

Now, the JUNO-nominated group's founder is opening that same system to every child, launching the Pop Star Performance Academy.

The Academy was built by Dawn Van Dam, the founder, executive producer, and creative force behind Girl Pow-R, whose own path into youth entertainment began when she started auditioning talented young singers to build an original pop group rather than assume musical chemistry would simply happen.

How did the Pop Star Performance Academy get its start?
It actually goes back to my childhood, and long before I ever created Girl Pow-R.

When I was growing up, I wanted desperately to sing and have a major part in the school musical, I wanted to dance in many dance classes, and I wanted to go to a special high school to learn acting and performing.

However, back in the day, the acting was only taught in a technical school, but I was destined to go to university, so I did not choose the technical school path. For singing and dancing, my family couldn't afford to put me into all of the different kinds of training that it required. And, honestly, they also didn't know how to help me navigate that world.

I was able to take one stream of dance, jazz, while other girls were able to train in multiple disciplines. And, there was only one vocal coach in my town. And, although I did not train with her, I still made it into the school musical as a minor character, along with being in the school choir. I was ‘bitten with the entertainment bug’!

Then something happened that I never forgot. The head of my dance school saw something in me and chose me to perform with a group of girls in Tony Grant's “Stars of Tomorrow” in Atlantic City, on the Steel Pier (long before the casinos arrived). The catch was that they were tap dancers. But I had never learned to tap dance! So I had to learn tap, learn the routine, get the costume, travel to Atlantic City with my family and somehow figure all of this out.

So, fundamentally, somebody (my teacher), saw potential in me before I had all of the training. That stayed with me.

Years later, when my daughter pursued music, I suddenly found myself on the other side, trying to navigate the industry as a parent. I became the "momager" and learned an enormous amount about recording, producers, performances, promotion and artist development. I also learned about the difficult and less glamorous realities of the business. There are things families are rarely taught until they encounter them firsthand. That knowledge was priceless, because very little of it is taught to families before they enter the industry. My daughter’s life eventually took her in a different direction, but I wasn't ready to walk away from everything I had learned. My passion was reignited.

That became Girl Pow-R.

And after years of developing Girl Pow-R, I realized that what we had learned shouldn't benefit only the girls who happened to be in the group. I wanted to create the roadmap that I never had for myself or for my daughter.

That's really where the Pop Star Performance Academy came from.

How does this build on Girl Pow-R?
Girl Pow-R has really been a real-world laboratory for almost a decade.

I started with an audition that attracted over 100 girls, and from there it grew into something I could never have imagined at the beginning. Girl Pow-R has performed more than 450 times, toured the U.S. twice, performed in cities from New York and Washington to Dallas and Houston, released original music heard in 240 countries with millions of streams around the world, earned a JUNO nomination in Canada (like the Grammys in the US), and even had a single reach the Top 50 on the U.S. Mediabase radio chart.

But those achievements are actually the by-product. The real value was that every one of those experiences taught me something about how performers develop.

I learned that you can teach someone a song, but that doesn't necessarily teach them how to perform it. Singing while dancing is different; it takes an almost athletic level of stamina and coordination. Connecting with an audience is different; being relatable and entertaining requires additional skill development. Recovering when something goes wrong onstage is learned through experiencing those setbacks, not in the classroom or the studio. Speaking confidently in an interview is again another skill.

When you have performed hundreds of times, you see things you simply cannot simulate in a studio. A microphone stops working. Someone misses a cue. A dancer ends up in the wrong position. The crowd reacts differently than expected. The young performer has to keep going, stay composed and make sure the audience never knows anything went wrong.

With all of this experience, you begin to see what actually works.

So, Girl Pow-R became the proof of concept for the Academy. We don't just teach a song or a dance routine. We teach the performer.

And one of the biggest things I learned is that live performance can't just be the reward at the end of the training. Live performance is part of the training.

I read that the academy is based in part on the BRIT School. How are the two similar or different?
I have enormous respect for what the BRIT School has accomplished, but we aren't trying to literally duplicate it. BRIT is a free, state-funded secondary school in the U.K., so obviously our structure is very different.

What inspires me is the philosophy behind it.

BRIT demonstrated that young people with creative potential can become dramatically better when you surround them with serious training, multiple disciplines, industry exposure and real opportunities to perform. BRIT is not simply a school that happened to produce Adele and Amy Winehouse. It has trained more than 14,000 young creatives, and the British government has reported that roughly 60% of its alumni continue to work in the creative industries.

But it’s important to also look beyond the famous names. The BRIT School created an actual development pathway for young creative people. That philosophy resonates with me. I believe that by focusing on trainable skills, rather than simply innate gifts, and surrounding young people with the right coaches and opportunities, any child can become dramatically more confident and capable, and can learn to own a room.

I think Canada has incredible talent. We certainly don't have a talent problem. But families are often left to piece the pathway together themselves. Voice lessons over here. Dance somewhere else. Acting somewhere else. Then somehow they're supposed to figure out stage experience, recording, media training and how the music industry works.

That's the part I want to change.

I have also been fascinated by what South Korea has done with K-Pop. South Korea has built entire artist-development systems with integrated training. This includes vocals, dance, stage performance, camera skills, languages and media readiness, all of this years before an artist ever debuts. That doesn't mean I want to reproduce the intensity or pressure of the Korean trainee system. But the underlying idea is important: artist development can be systematic.

What I want to do is take some of the best ideas from these models and adapt them for young performers in Canada and, ultimately, internationally.

What are some of the things that students at the Pop Star Performance Academy will learn?
Singing, dancing and acting are obviously a big part of it, but that's really just the beginning.

We want students to learn how to put those skills together. How do you sing while you're moving? How do you walk onto a stage and make people want to watch you? How do you connect with an audience? What happens when you forget a lyric or miss a cue? How do you speak confidently when someone puts a microphone in front of you?

At the more advanced levels, students aren't simply taking voice and dance. They are learning harmonies and solos, songwriting, recording original music, acting in music videos, interview skills, stage engagement, camera performance and how to work as part of a performing group.This is important because, even for solo artists, working as a team is critical because the success of that one person on stage is also driven by their band, their back-up dancers and the myriad of other professionals who make sure everything goes smoothly. This is why real performance experience is so critical to success.

There is also a progression structure. Students don't simply repeat the same type of class year after year. As their skills develop, they advance through levels, and the expectations, repertoire and performance opportunities increase with them.

But I also care enormously about who these young people become offstage, as well.

With Girl Pow-R, every girl chooses a social cause that has personal meaning to her. I ask her to research it, write a speech about it and be prepared to speak about it publicly. We then actively look for opportunities to support charities connected to those causes.

Over the years, the girls have championed causes ranging from children's health, mental health and homelessness, to Alzheimer's research, girls' equality, anti-bullying and animal welfare. This philosophy is also an important part of what we have built into the Pop Star Performance Academy.

Because if we're teaching young people how to find their voice, I think we should also teach them to think about what they're going to use that voice for.

So yes, we're teaching performance. But we're also developing confidence, resilience, communication, leadership, teamwork and the understanding that giving back matters.

What's next for them after they finish at the Pop Star Performance Academy?
I actually don't think of the Pop Star Performance Academy as having one single finish line.

For some students, the tremendous win will be that they become more confident. They may never fully follow a professional entertainment career, but they'll walk into school presentations, university interviews, job interviews and future leadership opportunities knowing how to stand up, communicate and own the room. That's a success.

For others, this may absolutely be the beginning of a professional career path in entertainment.

As students develop in the Training Pathway, there are opportunities to move into more advanced training and performances. Students advance through the Denim Jacket and Pink Jacket levels in the Girl Pow-R Pathway, with the expectations and opportunities increasing as their skills develop.

The strongest and most committed performers move toward more intensive artist development in this Girl Pow-R Pathway, where they then record original music, write songs, act and perform in music videos, participate in advanced auditions and contests, perform in more professional shows, access industry introductions and are showcased in group or solo artist opportunities.

It is these advanced performers who have participated in the two U.S. tours. We also have opportunities to perform at Universal Studios, Disney World, along with the chance to train intensively and access an audition with a Hollywood or Disney casting director.

That's part of the larger vision.

In Canada we produce extraordinary artists, but I think we need a stronger pathway for developing them here. And as the Academy expands, I want to bring that same kind of artist development to young performers across the U.S. and around the world.

I'd like the Pop Star Performance Academy to become one part of that pipeline: finding potential early, developing it properly, creating real opportunities to perform, and then helping the young people who truly want to go further understand what the next steps look like.

We are launching across Canada now; however, through our online program and our next phase of expansion into the U.S. and global markets, we want to help young people go from first steps to headliner moments, whether it’s on a stage or on the stage called life!

I don't believe in promising every child that they are going to become a star.

I do believe in giving every young person the opportunity to discover how far they can go.

Kensington Market Jazz Festival returns for 11th year

citywidemax@yahoo.com (Citywide Blackout) — Wed, 16 Sep 2026 17:25:39 +0000

By Max Bowen

The Kensington Market Jazz Festival (KMJF) is back. Now in its 11th year, the festival returns to one of Toronto's most storied neighbourhoods on Sept. 18, 19 and 20. The festival begins with five of the biggest names in Canadian jazz: Alex Bird, Hilario Duran, Robi Botos, Rich Brown, Jane Bunnett, and book readings from Marc Jordan and Robert Priest, including the premiere of a new event – the Poetry Slam.

KMJF was founded by Molly Johnson, O.C., collaborating with Tracy Jenkins of Lula Lounge and the 2025 Shaw Festival, and remains artist driven and volunteer powered in every sense of those words.

Want to learn more? Visit www.kensingtonjazz.com.

How did this festival get its start?
I grew up in Kensington Market, so this neighbourhood has always been a big part of who I am. I started the Kensington Market Jazz Festival in 2016 because I wanted to showcase the incredible cultural tapestry of the Market and create something that belonged to the artists, audiences and community. That first weekend we had more than 200 Toronto musicians performing in nine venues, and it grew from there. The idea has always been pretty simple: Better, Not Bigger. Keep it intimate, keep it about the music and make sure people can experience great Canadian artists up close in this incredible neighbourhood.

For those not familiar, what can they expect?
You can expect to walk through Kensington Market and hear great music everywhere. We use the cafes, courtyards, community spaces, patios and venues that are already part of the neighbourhood, so you might see an artist you love in a room that holds a fraction of what a traditional concert venue would. A typical festival weekend has more than 100 Canadian musicians performing across about 10 venues in more than 100 shows. It’s intimate and spontaneous, and you really do feel like you’re part of the neighbourhood for the weekend.

How has the festival grown since it started?
We’ve presented more than 500 Canadian artists over the years, and we now have more than 100 volunteers helping make the festival happen. We’ve added programming like our Kids Music Series, recording initiatives, seasonal music series, busking and, this year, the El Mocambo and a new Poetry Slam. But I’m very protective of what made the festival special in the first place. Growth for us means creating more opportunities for Canadian artists and finding new ways to bring people together through music while keeping that intimate community feeling.

Who are you most excited to see?
That’s an impossible question because so many of these musicians are friends and people I’ve worked with and admired for years! We have Hilario Duran, Jane Bunnett, Robi Botos, Rich Brown and Alex Bird among the artists this year, and they’re all extraordinary. Robi has been my pianist of choice for close to 15 years, so there’s obviously a very special musical relationship there. What I love most is seeing these incredible musicians playing in small rooms where the audience is right there with them. That’s really what this festival is about.

What’s in store for next year?
First we have to get through this year, ha. I want us to keep supporting Canadian musicians, keep bringing people into Kensington Market and keep finding interesting ways to use the neighbourhood. We’re a registered charitable arts organization now, and the volunteers, audiences, artists, businesses and supporters are what allow us to keep doing this. As long as we can keep making the festival better and giving artists a place to play and audiences a reason to come together, I’ll be happy.

Five by Five—Cynthia Johnstone shows nature’s lessons

citywidemax@yahoo.com (Citywide Blackout) — Mon, 31 Aug 2026 19:23:22 +0000

By Max Bowen

Cynthia Johnstone’s debut novel, “Nomad” (She Writes Press, October 13, 2026) is an atmospheric look at healing and reckoning in the American West.

Set in the desert wilderness of Sedona, Arizona, “Nomad” is a lyrical novel about grief, resilience and the landscapes that shape us. After her brother’s sudden death, Corey retreats to a remote, off-grid ranch outside Sedona seeking silence and escape. Instead, an unexpected stray dog—and a handful of unlikely connections—begin to draw her back toward the world.

For more, visit https://www.cynthia-johnstone.com/.

What inspired you to write this novel?
At its heart, “Nomad” was inspired by the idea that nature is always teaching us, if we are willing to pay attention. The natural world doesn’t resist change the way people often do. Forests burn and grow back. Seasons end and begin again. The landscape adapts, endures, and finds ways to create new life from what appears to have been destroyed.

I wanted Corey’s healing to grow from those lessons. She retreats into nature believing it will help her escape the world, but over time, it becomes her guide back to it. The land teaches her about patience, resilience, surrender, and renewal. Even Nomad arrives as part of that wild world—unexpected, wounded, and carrying exactly the lesson she needs. The novel grew from my belief that nature doesn’t simply surround us; it speaks to us. Sometimes it even shows us the way forward.

How does the setting of Arizona shape the story, and how has your own time there influenced the book?
Arizona is more than the setting; it reflects Corey herself. The landscape is rugged, beautiful, uncompromising and shaped by everything it has endured. Its isolation gives Corey a place to disappear, while the demands of off-grid living allow her to turn survival into an identity. But Arizona also teaches her that destruction is not always the end, sometimes it’s the beginning of something new.

Living in northern Arizona has deeply influenced the book’s spirit. I’m continually struck by the vastness of the land, the force of the weather, and the quiet resilience required to live here. I wanted readers to smell the juniper, feel the heat rising from the earth, and understand why Corey would seek refuge in such a wild place—and how that same place might eventually lead her home to herself.

What is the journey that Corey takes as she copes with her loss?
Corey’s journey begins with flight. At 18, devastated by her brother’s death and her mother’s imprisonment, she disappears into the Arizona backcountry and creates a life governed by routine, hard work and complete self-reliance. She believes she has moved on, but she has really suspended herself in time, avoiding anything that might reopen the past.

As the life she has carefully constructed begins to change, Corey can no longer keep memory, guilt and anger buried. She must reconsider the story she has told herself about her brother’s death, confront her mother, and decide whether solitude is still a choice—or has become another kind of prison. Her journey is not about leaving the wilderness or becoming someone entirely new. It’s about allowing herself to grieve honestly and discovering that moving forward does not mean leaving the people she loved behind.

Tell me about the relationship between Corey and the stray dog.
Corey wants nothing to do with Nomad when he first appears. To her, the stray dog represents everything she has spent ten years avoiding: attachment, responsibility, love…and the possibility of losing something she cannot bear to live without. She repeatedly sends him away, but Nomad refuses to give up on her.

His loyalty is patient, unwavering, and entirely selfless. He asks for nothing beyond the chance to remain beside her, and little by little, his persistence wears down the defenses Corey has built around herself.

Through the ordinary intimacy of sharing her home, her routines, and her land with him, she remembers both the comfort and the risk of loving another living being. Nomad becomes the first crack in her carefully constructed isolation—and, in the end, an unexpected discovery reveals just how profound their connection may have been.

How did you develop Corey’s character? Did she change much from initial idea to final version?
Corey Collins was inspired by the women around me here in the small mountain town of Flagstaff, Arizona. They’re strong, adventurous, capable women who seem able to do anything. I admire their visible toughness, but I’m even more moved by the strength we don’t always see.

I have found that so many women carry invisible wounds while raising families, building lives, climbing mountains, taking risks, and beginning again, often without anyone understanding what they have survived. Corey became my tribute to that quiet, independent survivor.

She did evolve from my initial idea. At first, I imagined her primarily as tough, self-sufficient, and unconventional. As I wrote her, she became more vulnerable, complicated, and emotionally honest. Her strength was no longer about being fearless or untouched by her past, but about building a life despite it. Corey’s path may not resemble what others consider healing, but it belongs to her. That evolution helped me understand that healing has no single shape or timetable.

Ink and Riffs-August

citywidemax@yahoo.com (Citywide Blackout) — Mon, 31 Aug 2026 15:34:05 +0000

Ink and Riffs is a regular review series written by me, Citywide Co-Host Max Bowen, to talk about what I’m reading and listening to and why I think it’s awesome. Feel free to send suggestions to citywidemax@yahoo.com.

INK

“Rook: Exodus” (comic)
Published through Image Comics, “Rook: Exodus” takes place hundreds of years from now. The man known as Rook was once a simple farmer who fled the crumbling Earth for a new life on the planet Exodus; a terraformed planet where all of nature, including its imported animal population, was completely controlled by humans called Wardens.

But when Exodus’s world engine failed, the Wardens’ power fell into the wrong hands, creating chaos and mass evacuation…for those who could afford it. The rest, like Rook, must scavenge for an escape vessel as the war for control of what’s left of Exodus begins.

It was the cover that got me into this, but the story is what kept me there. Geoff Johns has written a story that is gripping, intense and very well thought out. It was great to learn more of Rook’s backstory and the technology of the Wardens’ helmets.

Artist Jason Fabok and colorist Brad Anderson have brilliantly crafted a borderline apocalyptic, yet at the same time, absolutely beautiful world. In all, this book was a real thrill to read.

Head to https://ghostmachinepro.com/series/rook-exodus/ for more.

Artifact (audiobook)
I just finished the audiobook version of “Artifact” by Jeremy Robinson and voiced by R. C. Bray. Set in an isolated Alaskan town, the book follows Sheriff Colton as he investigates a secret laboratory where a generative AI capable of “bioprinting” living organisms unleashes grotesque monstrosities.

The book is extremely well written and has a great formula, tension and intriguing characters. Jeremy has created a very creepy, tense story, similar to the master of these tales, Michael Crichton. I just kept listening to each chapter waiting for the next disaster. The description of the different bioprinted creatures was unique in its unsettling nature and I just loved it.

The voicework by R.C. Bray is really amazing and captures the sense of each part perfectly. He really nails each character and gives them a distinct sound that makes it easy to tell them apart. He also projects their moods, whether that’s excitement, fear, or downright terror. A real master at work.

If you need a new listen and want a great story with monsters, creepy labs, all set in the middle of nowhere, check this one out.

Find “Artifact” on Audible through this link.

RIFFS
“More” (music)
“More” by Toronto-based singer-songwriter Bree Taylor is a real powerhouse of a song, with a strong guitar opening that stays there throughout. It’s the kind of song that would have hands raised during the chorus and eyes locked on the stage. An artist to watch to be sure!

Check out https://breetaylor.com for the rest of her music!

“Jack the Lad” (music)
“Jack the Lad” by Robin Shaw is a wonderfully addictive song. I loved the jazzy, big band flow and style, which paired perfectly with Robin’s strong voice. I’m really looking forward to what else the Norfolk-based singer-songwriter has in store.

Check out the rest of Robin’s music on Spotify.

“Broadway” (music)
“Broadway” by J. Henry is a beautifully composed song that blends an array of styles, including theatrical and gospel, to create a story of chasing a dream, no matter the obstacles. It’s a wonderful, heartfelt song that instantly connects with the listener.

Find more at www.theejhenry.com.

“How She’s Got It” (music)
I really loved the building opening and blend of electronic and rock sounds in “How She’s Got It,” by the Italy-based, alternative-industrial rock band Noir Addiction. The song “moves through fragments of memory and shifting emotional states, reflecting on connection, distance, and the subtle erosion of belief,” according to the release, and is part of their new album, “Pretty Things Don’t Last,” out now.

Check out the release of the band’s sound at https://www.noiraddiction.com/.

Five by Five—Cowboy Mouth to take the stage at Boston’s City Winery

citywidemax@yahoo.com (Citywide Blackout) — Thu, 20 Aug 2026 15:16:33 +0000

By Max Bowen

Cowboy Mouth is headed to Boston to perform at City Winery on Wednesday, Aug. 26. Cowboy Mouth’s live shows have made them a staple of the national club and festival circuit since the mid 90s, playing thousands of shows over the years.

The band’s leader, Fred LeBlanc, in addition to handling drumming duties, is also the lead singer and frontman, and writes a majority of the band’s music on guitar. Fred joins us to give readers a preview of the show, his take on Boston and how this 30-year-old band

For those who have never seen Cowboy Mouth, give us a rundown on what the shows are like.
The thing I always say is that if The Neville Brothers and the Clash had a baby it would be us. Also, a while back we had a fan from the South say that we were just like a gospel tent revival, without the religion! I think those two descriptions are pretty on point. If you come to a CM show we will do our best to make sure you leave feeling better than you have in a long time through the celebratory healing power of southern American New Orleans based rock ‘n’ roll.

What’s your take on Boston as a place to perform?
Are you kidding me? Boston is one of the best places to perform in the entire country! That’s because the people there know how to have a good time and don’t put up with any bullshit! Boston has history, culture, excitement, and a rich rock ‘n’ roll heritage that you can feel in the air. You guys know how to have FUN! People in Boston are very similar to people in New Orleans in that both know the importance of having a good time and don’t let anything get in the way of that! And during these crazy times we are living in, there’s something to be said for the value of having someplace you can go in order to dance, scream, and let go of your worries for a little while. That’s what a Cowboy Mouth show is all about!

I saw that you’ve got a new song coming out each month. What’s planned for the rest of the year?
More songs, more shows, more bringing our rock ‘n’ roll Mardi Gras to the world, and more kicking musical booty!

How did the band get its start?
It was a project I had been trying to put together for a while and was about to give up on… until John Thomas Griffith walked in the room. He was the final missing piece that made it all work and we’ve been doing it ever since.

I read that the band has been together for three decades. That’s amazing! What makes the band work so well that is has been around so long?
It seems like a long time, of course. But it also feels like it started just yesterday. The energy and passion of the band is what it always has been: a group of people playing the best they can with all their hearts. Individually we were all pretty different people. But I think that’s one of the strengths of any creative unit, the whole being greater than the sum of its parts. Cowboy Mouth has always been very fortunate in that regard. Also, we try to make sure that we laugh a lot. We are entertaining each other on stage as much as we are the audience. It’s just a big giant JOYGASM. There’s a lot of appreciation in the fact that we’ve been able to do this to such a high standard for so long. I don’t think any of us taken for granted. It’ll be one hell of a great night, and y’all should all be there!

Ticket link to City Winery show: https://shorturl.at/WNJJm

Most recent single on Spotify: https://open.spotify.com/album/7LY2tUWgMyOk8VoxMxJSkw?si=LQ8jhKFGSyCw5RFCzK6KJg

Band Links:
www.cowboymouth.com
https://www.facebook.com/cowboymouth1
https://twitter.com/CowboyMouth
https://www.instagram.com/cowboymouthofficial
https://www.youtube.com/@cowboymouth

Five by Five—Kurt Baker’s ‘Got It Covered’ returns on vinyl

citywidemax@yahoo.com (Citywide Blackout) — Thu, 20 Aug 2026 14:55:33 +0000

By Max Bowen

Kurt Baker and Oglio Records are bringing a cult favorite back to life. Originally released in 2010 as the explosive introduction to Baker’s solo career, “Got It Covered” will finally receive its long-awaited vinyl debut in 2026 — newly remastered for both vinyl and digital platforms and led by the release of the first single, Baker’s electrified take on Blondie’s classic “Hanging on the Telephone.”

The official video for “Hanging on the Telephone” is streaming now. Watch the video here.

Produced by Linus of Hollywood and featuring guest appearances from Kay Hanley (Letters To Cleo) and drummer Adam Marcello, “Got It Covered” captures Baker channeling the spirit of late-’70s and early-’80s new wave, punk, and power pop through seven adrenaline-charged covers from artists like Elvis Costello, Joe Jackson, The Knack, Nick Lowe, and The Vapors.

Learn more at https://linktr.ee/kurtmiltonbaker.

Let’s begin with the return of “Got it Covered.” How does it feel to see the return of this release and on vinyl?
Well, it feels really great. I've always wanted to have this album properly released on the vinyl format. When these old power pop new wave songs were originally released, they came out on vinyl — and not CD — so in that sense, these covers are in the grooves that they belong in. When "Got It Covered" came out in 2010, it was released digitally, and the whole streaming thing was just getting started, and of course it came out on CD. In my mind back then I still wanted to have it out on vinyl, but it wasn't in the cards. Now 16 years later, here we are!

How would you describe the sound of this album?
Gotta give some major props to Linus of Hollywood, who produced this record and Dave Trumfio, who mixed it. I've always loved how this record sounded — and even now, the mix doesn't feel dated. Now, in terms of vinyl — it was mastered for vinyl by Justin Perkins, and because it's just seven songs on the 12-inch LP, the songs have bigger grooves. Thing sounds massive. Turn it up.

Is there a particular song that resonates with you, even today?
Funny enough, a track like "Is She Really Going Out With Him?" by Joe Jackson makes me chuckle a bit, but it always has….I think my favorite cover on this album is "Cruel to Be Kind." Nick Lowe is one of my all-time favorites, and his backing band Los Straightjackets told me once how much they enjoyed the cover. That really meant a lot to me.

Is “Got it Covered” being released just as it first was?
Absolutely not! This album got a proper facelift. As mentioned, it's been mastered for vinyl, and the artwork actually features the originally intended front album cover photo. The graphic design was done by my friend Nat, really talented guy who plays in some great bands like Brower, Nancy and Josephine Network here in NYC. A legendary (although somewhat unknown and severely underrated) producer/musicologist Dick Hazelwood was kind enough to do a write-up for the inner sleeve artwork. I met Dick Hazelwood years ago; I don't think that's his actual last name — more of a stage name type of thing. He doesn't have any teeth anymore but he can definitely still write so i'm honored to have him involved in this release.

This kicked off your solo career. What have been some of the highlights?
There have been a ton of great times over the years. Playing on the sand dunes in the middle of the North Sea in Germany was wild. I had a drunken sing-along with Jimmy Fallon once in the East Village. Opened up for the Offspring once at this big old ballroom on the New Hampshire coast. It was built in the 1800s. Anyway, Offspring were suckin' so much power out of the place with their custom sound system recently flown in from Russia, that when we went to play, all our amps blew up. I don't know if that was a highlight, but I'm gonna use this opportunity to say — Dexter, if you are reading this right now, i'll take either a Venmo for $200 bucks or a truckload of Cheetos.

Five by Five—Current events influence new book on the decline of democracy

citywidemax@yahoo.com (Citywide Blackout) — Mon, 17 Aug 2026 15:33:23 +0000

By Max Bowen

Duncan Ritchie’s technothriller “The Truth Chamber” (Sept. 1) takes the decline of American democracy to frightening ends. In an election year marred by violence, Democratic candidate Anna Hoffman warns a divided America that the country will devolve into a Russia 2.0 if her rival, Mack Leach (the Red Caesar), wins the White House.

After a confrontation with a book burner, Admiral Liam Driscoll joins Anna’s team, and he recruits a Stanford PhD student developing an AI technology called the Truth Chamber to figure out who is behind the escalating violence and an assassination attempt on Anna. Can the truth save America? Or will the Red Caesar bring an end to democracy as we know it?

Learn more at www.duncanritchie.com.

What inspired this book?
The seed for “The Truth Chamber” was planted while I was working for a Japanese bank in Singapore in 2016, with the twin shocks of Brexit and Donald Trump's election. But the true catalyst came in 2022 after Russia invaded Ukraine. I watched UC San Diego professor Barbara F. Walter discussing her book “How Civil Wars Start: And How to Stop Them.” I devoured her book, then dozens of others. I began filling notebooks with "what if?" scenarios. Those notebooks became the foundation for “The Truth Chamber.”

Did current events play a role? If so, how?
Absolutely. I finished the first draft of “The Truth Chamber” the day after Joe Biden dropped out of the presidential race in 2024. It forced me to rethink the novel’s political backdrop. In the end, I knitted a speculative future to a (largely) historically accurate American past, diverging around 2016. My goal was to hold up a mirror to America, then tilt it forward slightly—a warning: “This is where you could be heading.”

Kirkus Reviews called “The Truth Chamber” “eerily prescient” and said, “readers may feel like they’ve found a history book from the future.” That’s a wonderful compliment. One of my editors put it slightly differently: writers don’t necessarily see into the future; sometimes they simply see what is happening a little earlier and more clearly than everyone else. I prefer that idea: that if we observe the present closely enough, the traces of our possible futures are already there.

What kind of research was done for this book?
Not being American has both helped and challenged me. I wanted to ensure my representations of America’s past and of an emerging fascist leader were broadly accurate. I came to the project without the potential benefits—or baggage—of an American education, and with a hell of a lot to learn. I read about 50 books on fascism, the history of race relations in the US, the Constitution, the Supreme Court, the role of money and religion in politics, and, of course, language and the art of deception.

I also spent six weeks traveling through nine US states during the 2024 election, visiting key locations in the book. I volunteered for the Harris campaign and knocked on doors in Atlanta, Georgia. That gave me direct experience of a campaign, albeit on the periphery. But more importantly, it gave me invaluable conversations with voters—a real-time temperature check on the American electorate in the days before the election.

How did your own career as a former banker help you when it came to creating the story?
I spent much of my career working on complex transactions across Asia, where political risk was often intertwined with financial risk—I lived through the Asian financial crisis and a coup in Thailand. You learn to ask hard questions: What could go wrong? What are we taking for granted? What happens if institutions, governments or political leaders behave differently from the way everyone assumes or expects they will?

I think that was why Barbara Walter’s interview and book caught my attention—she was identifying warning signs of potential instability and political violence in the US that we tend to associate with decaying democracies in more troubled parts of the world. So I did what risk analysts do: I followed those risks to their logical extremes. But this time, instead of putting my analysis in a briefing paper, I put it in a thriller.

What is your perspective on US elections?
I’m finishing up an essay on what I describe as America’s crisis of democratic legitimacy; in a sense, it’s the nonfiction companion to “The Truth Chamber.” I think ordinary Americans have every reason to feel frustrated and disillusioned with their elections, and with the widening gap between what citizens expect from their representatives and what their political institutions deliver.

As an outsider looking in, aspects of US elections seem bizarre—gerrymandering, dysfunctional institutions, the influence of money, the increasingly toxic polarization. It’s easy to understand why so many ordinary Americans feel the system isn't working for them. And there’s another emerging risk: the delegitimization of elections themselves. If people stop believing elections are free and fair, you risk losing democracy’s greatest strengths: its capacity for self-correction and the peaceful transfer of power.

It seems to me that a democracy designed in the 18th century is struggling to cope with the 21st. It’s a little like trying to run your iPhone 17 Pro Max on OS 1: without an upgrade, sooner or later, it’s going to crash.

Rawmny addresses the influence of his different sides in ‘Habeshinated’

citywidemax@yahoo.com (Citywide Blackout) — Sat, 15 Aug 2026 01:17:37 +0000

Photo credit: Bingham Kiros

By Max Bowen

Toronto-based artist Rawmny Wildcat, (pronounced Raw Money Wildcat) recently released his new single "Manew," the lead track from his album 'Habeshinated', both out now.

Born in Addis Ababa and now in Toronto, the producer, songwriter and vocalist has crafted a song that fuses hip hop, soul and East African sound into a powerful declaration of who he is and where he comes from.

"Manew" means "who is it" in Amharic, and Rawmny turns that simple question into a thesis on identity, lineage and earning your place.

Website: www.rawmnywildcat.com

Tell me about your album “Habeshinated” and what people can expect?
My album, “Habeshinated,” is a deeply personal fusion of hip-hop, R&B, Afrobeat, and Ethiopian musical influences. It reflects my journey as an Ethiopian-born artist growing up between two cultures and finding my voice in Toronto. People can expect powerful storytelling, infectious rhythms, soulful melodies, and thought-provoking lyrics about identity, love, culture, migration, Africa, and the diaspora experience. I wanted to create something that feels authentically African while still sounding global and contemporary. “Habeshinated” is more than an album—it’s a celebration of where I come from, where I am, and where I believe we can go. I invite listeners to experience the culture, energy, struggles, dreams, and spirit behind Rawmny Wildcat.

Did this take you in any new directions in terms of music or lyrics?
Absolutely. “Habeshinated” pushed me into new creative territory, both musically and lyrically. I became more intentional about blending Ethiopian sounds, rhythms, and cultural references with hip-hop, R&B and Afrobeat. Lyrically, I allowed myself to be more vulnerable and reflective, exploring identity, immigration, love, African unity and the experience of living between cultures. I also experimented with different flows, melodies, and storytelling approaches, rather than staying within one sound. This album challenged me to embrace all sides of who I am as an artist and as an Ethiopian-Canadian. I believe “Habeshinated” represents a more mature, confident, and culturally connected version of Rawmny Wildcat.

I read that the album came about as a sort of personal homecoming. What was the experience for you?
Creating “Habeshinated” felt like coming home to myself. Growing up in Ethiopia and later moving to Canada, I’ve always carried two worlds within me. For years, I explored different sounds and identities, but this album gave me the freedom to reconnect deeply with my Ethiopian roots and the memories, rhythms, and stories that shaped me. It was emotional because I realized that home isn’t only a place—it’s also a feeling, a language, a culture, and the people who shaped you. Making this album allowed me to embrace that connection without losing the Canadian influences that are also part of me. “Habeshinated” is my way of bringing those worlds together and celebrating the journey.

How did this affect you personally and as an artist?
Personally, “Habeshinated” gave me a deeper sense of identity and belonging. It made me reflect on my journey from Ethiopia to Canada and appreciate how both cultures have shaped who I am. As an artist, it gave me the confidence to stop trying to fit into a particular box and fully embrace my influences. I became more fearless in blending Ethiopian sounds and storytelling with hip-hop, R&B, and Afrobeat. The process also reminded me why I started making music in the first place—to tell authentic stories and connect with people. I feel that “Habeshinated” represents a more honest, mature, and confident version of Rawmny Wildcat, both creatively and personally.

What’s the message of Manew that you hope the listeners take away from this?
With Manew, I want listeners to reflect on identity, connection, and the journey of discovering who you really are. The song carries a message of self-awareness and cultural pride, while also encouraging people to embrace their roots and remain true to themselves. For me, Manew is about asking the deeper question: “Who am I?”—not just as an individual, but in relation to my culture, my experiences, and the world around me. I hope listeners feel the emotion and energy of the song, but also connect with its deeper meaning. Ultimately, I want Manew to inspire people to own their story, embrace their uniqueness, and never be afraid to ask themselves that question.

Five by Five—Listening for signs from the departed

citywidemax@yahoo.com (Citywide Blackout) — Mon, 03 Aug 2026 16:42:36 +0000

Tara Badstubner

By Max Bowen

Tara Badstubner's debut “Every Room Remembers” (Sibylline Press, Sept 25, 2026) is a portrayal of a young widow’s journey following the sudden loss of her husband, where signs from the natural world and the community she always needed guide her toward healing.

The novel shows "both sides" of grief by alternating points of view between the grieving widow and her ghost husband who watches over her.

In this interview, Tara talks about the inspiration for the book’s dual points of view, if she believes the deceased can pass on messages to the living and the message to readers.

What inspired the dual points of view and how does this shape the story?
The dual point of view emerged after I went to upstate New York to be a part of a writing cohort. There were four of us staying in a Victorian mansion, and on the third night, all of us together, experienced an undeniable haunting. This strange event got me thinking about the inherent loss of the bereaved but also the departed. I wondered what it might be like to have an unfinished life, dreams and aspirations, yet be yanked out of life into a liminal space, a ghost.

What inspired this book?
The initial germ of the idea came about during COVID. I, like so many other people, was struggling with the daily toll of the pandemic. It was taking up a lot of mental space, this fear of losing someone dear to me. A good friend encouraged me to write into my fears instead of trying to squash them or deny them. This suggestion was a gift. It completely changed my relationship with this fear of loss. I realized through my protagonist, SJ, that, yes, there was this fear of death, but there was also a dogged hope, a grit. I didn't know this about myself until I wrote this novel.

Do you believe that the departed can send signs to the living?
Yes, I do believe the departed send signs to the living, but I also believe the living need to be in a receptive state to see the signs, the communication. I think grief can be such a tsunami of emotions that often we're unable to perceive the subtle ways the departed try to reach us. I think a degree of emotional quiet needs to be present to truly perceive. Often, it is years after a loss, when there is finally a degree of peace present, that we notice unique signs from our loved ones.

What is the role of the natural world and SJ’s community in her healing?
The "natural world" is a catch-all phrase for all the wonderful ways the world shows up to help SJ through her deep mourning. Her dog, a snake, beetles, a curious fox, a Carolina wren—each of these shows up at pivotal moments in her life, each with a different role. Some of them act as harbingers of change; others act as protection and comfort; still others act as chaperones from one stage of life to the next. This goes back to the idea of signs. Often, signs appear to us from the "natural world," but we must be looking for them.

Is there a message that you hope readers take from this?
I hope a reader, especially one who has experienced deep loss, might read this novel and feel seen, but I also hope it might encourage a degree of curiosity. What signs might have been there all along that were missed? How has the world been trying to speak to me? If a person comes out of reading this book a degree or two more compassionate to those who are grieving and a bit more curious, I will feel all the effort had real purpose.

For more information, visit https://www.tarabadstubner.com.

South Coast Jazz Festival returns for 13th year

citywidemax@yahoo.com (Citywide Blackout) — Thu, 23 Jul 2026 18:58:34 +0000

South Coast Jazz Festival is marking 13 years of bringing music to rural Ontario with a 2026 edition anchored by the world premiere of previously unreleased music by legendary Canadian jazz pianist Gene DiNovi and a full weekend of performances spanning jazz, blues, folk, Indigenous music, and French and English programming.

"After 13 years, South Coast Jazz has become so much more than a music festival," said Founder, Executive and Artistic Director Juliann Kuchocki. "It's a celebration of community, culture, collaboration and Canadian excellence. This year's festival is particularly meaningful because we're bringing together legendary artists, emerging talent, Indigenous programming, youth workshops, internationally acclaimed musicians in one weekend that truly reflects who we are as Canadians."

At the heart of this year's festival is a tribute to DiNovi, one of Canada's most respected jazz pianists, composers, and arrangers, whose career included performing and recording alongside Peggy Lee, Carmen McRae, Nancy Wilson, and Lena Horne, and who was discovered by Dizzy Gillespie and joined his band in New York City at just 16 years old.

Produced by Kuchocki and marking her first full set performance at the festival in 13 years, the tribute coincides with the release of her new album “Kuchocki Sings DiNovi, But Only For You,” which features contributions from Canadian musicians with Grammy and JUNO credentials. The centrepiece of the evening is the world premiere of a previously unreleased Gene DiNovi composition written with Peggy Lee.

Sharing the spotlight is Red Hot Ramble, one of Canada's most exciting traditional jazz ensembles, bringing New Orleans-influenced swing and blues to the festival with an approach built for dancing.

"Port Dover peeps love to dance," said Kuchocki, describing the group's connection with festival audiences.

Rounding out the evening's programming are Indigenous performances from Jai King Green, the Carla Muller Band, and a hands-on Cuban music and dance lesson, reflecting Kuchocki's vision for a lineup that mirrors a full breadth of Canada's musical culture.

"Canada's story is one of many cultures, traditions and musical voices," Kuchocki said. "Jazz has always embraced collaboration and diversity, so it felt natural to bring together Indigenous artists, French and English performances, folk traditions, blues, Latin influences and contemporary jazz into one festival. When audiences experience different cultures together, barriers disappear and communities grow stronger."

Downloading advance tickets are strongly recommended, with Free GA and VIP seating limited and the first 100 VIP ticket holders receiving reserved table seating. Tickets and the complete festival schedule are available at SouthCoastJazz.com and Eventbrite.

Five by Five—The search for faith

citywidemax@yahoo.com (Citywide Blackout) — Tue, 21 Jul 2026 20:27:41 +0000

Chelsea Kim Long

By Max Bowen

Raised in evangelical churches, Chelsea Kim Long had a clear vision of the Christian woman she was born to be, but after a traumatic birthing experience and postpartum depression, she found that vision―and her faith―shattered. Instead of giving up on her faith, she looked within and asked: What would Christianity beyond patriarchy look like?

“Faithfully Dissident Daughters: Reclaiming Christian Womanhood Beyond Patriarchy” (Westminster John Knox Press, September 8, 2026) shows what it takes to reclaim Christian womanhood beyond the patriarchal influences that have historically marred Biblical interpretations.

In this article, Chelsea talks about her original vision of her Christian life, what happened to change it and how the patriarchy of the church has harmed women.

Learn more at www.chelseakimlong.com/

What happened to change your original vision of who you were supposed to be?
I did everything right, according to the conservative Christian world I grew up in. I was named Countess of Christianity at my Christian high school prom. Met the good Christian boy on a mission trip, married young, had a baby at 27. The birth didn't go the way I planned, and a few months in I was sobbing on the couch telling my husband I wanted my life back. That was supposed to be the happy ending. It was the beginning of a painful journey to a truer version of myself.

How did your perspective change?
Slowly, and not on purpose. I'd grown up holding two beliefs that don't work together: that I could hear God myself, and that if what I heard didn't match the church's interpretation, I was wrong. That trains you out of trusting yourself, which is great for keeping you controllable. Once I saw that the structure was built by men, and that their reading of the Bible worked well for men, I couldn't unsee it. When I left conservative church world, I didn't leave God; I went looking for a version of faith that let me see myself.

What kind of theological research did you do and what was learned?
Years of it, mostly deep dives on ancient Hebrew and Greek, feminist theology, and church history. The short version: the divine feminine has always existed in Christianity, and women have always led. El Shaddai, usually translated "God Almighty," shares a root with the Hebrew word for breast. Wisdom in Proverbs is a woman. Mary Magdalene was called Apostle to the Apostles in the early church, then recast as a prostitute by a sixth-century pope. Rome didn't correct that until 1969. In 1748, Moravians in Bethlehem, Pennsylvania, carved a prayer to the Holy Spirit as Mother into stone that still stands.

How has the patriarchy in the church harmed women?
Purity culture teaches girls to be ashamed of their bodies while teaching boys they can't control theirs. Marriage and motherhood get sold to women as our highest aspiration. We get blamed for divorces and reproductive choices. We're expected to make our pain palatable and swallow our grief. Under all of it is training in not trusting yourself, which for me led to debilitating anxiety. Here's what I want people to hear: I had every advantage in that system and it still didn't work. That's not personal failure. That's the theology working as designed, to uplift some and suppress others.

What do you hope readers take from this?
That you don't have to pick. Most of the books I read while I was falling apart ended with the author leaving, and I closed every one of them a little disappointed, because I wanted to stay. I wanted to know if there was a version of this faith big enough to hold my actual life. That's my book. If you've ever been told that becoming more yourself means becoming less faithful, “Faithfully Dissident Daughters” argues the exact opposite. Your body, your anger, your intuition, all of it belongs.

Ink and Riffs--July 2026

citywidemax@yahoo.com (Citywide Blackout) — Thu, 16 Jul 2026 11:31:54 +0000

Ink and Riffs is a regular review series written by me, Citywide Co-Host Max Bowen, to talk about what I’m reading and listening to and why I think it’s awesome. Feel free to send suggestions to citywidemax@yahoo.com.

INK

“The Glass” (comic)

Lara and Suni are childhood friends who meet again after 10 years. Suni is a member of the world’s most successful idol group, “The Glass.” Lara is looking for a job while planning her wedding with her fiancé, Mark. After a small accident, they meet again and Lara gets a job as Suni’s manager. However, Suni has a secret—she’s been in love with Lara since childhood, and is determined to keep the promise they made to each other when they were little….to marry her.

I came across this series and have been hooked ever since. It’s intensely emotional, with scenes of Lara bearing the burden for what she feels are her mistakes, while at the same time talking around her feelings. Suni, meanwhile, has to deal with the repercussions—both to her and the group—when things don’t go the way she hoped. The art is another strong point in the series, with amazingly detailed scenes done with a great color palette that brings it to life in a unique way.

Check out the series on the Webtoon app or at https://tinyurl.com/visit-the-site-here.

“Ferocious” (comic)

This five-part series, written by Luke Piotrowski, illustrated by Emanuele Ercolani and out through Mad Cave was something of an impulse read, but well worth it.

A tavern boy’s sheltered life is overturned by the arrival of a towering, draconic woman, a wayward soldier from a distant war who single-handedly lays waste to his entire village. He swears an oath of righteous vengeance, but in order to fulfill it, he’ll have to seek training… from the warrior woman herself.

This series begins as a fantasy revenge thriller, but really evolves as the pages turn. The boy, named “Wren” by the demonic woman who wipes out his town, begins to form a connection with her, despite his desire to end of her life. We learn more about the war and how it’s resulted in the woman’s race being unable to have children, meaning that their time is coming to an end. The emotion in certain scenes is really powerful, and the ending…well, you’ll need to see it for yourself.

I really liked the artwork here. Ercolani really brings the intensity in each scene, and there’s gore aplenty for those that like that sort of thing. The emotional scenes are really brought to life through the art, and these are some of the best examples of what Ercolani can do.

Check out more at https://tinyurl.com/3ys4m4mz

RIFFS

“You Are Here” (music)

The new album by old favorites One Time Mountain is rock just as it should be—intense, passionate, and filled with lines that you cannot help but shout. The 10-track album come as a the band recently debuted a new lineup, and I’d say the team is already a well-oiled machine.

“Overdrive” is my top pick, which was hard to do. The sound gets your fist pumping and brings an infectious energy. “Goin Crazy” speaks to hitting the town on a Friday night and I think we can all relate to the desire to just cut loose after a long week. The album also incudes acoustic versions for “Goin’ Crazy” and “Understand,” and offer a very different but no less awesome a sound.

This an insanely good album, really showcases the dedication that OTM has to the music and you really need give it a listen.

Check out more by the band at https://www.onetimemountainmusic.com.

“Reverberations” (music)

I was totally hooked on “Reverberations,” the debut single by The Sirens. The song’s about being stuck in a relationship that you refuse to leave, and the strong vocals and kickass instrumentals really carry it through. Can’t wait for what this duo does next.

Hear more of the band’s music at https://tinyurl.com/yy79vc2y.

“Pirates” (music)

“Pirates” by Shelby Natasha, from her “It Was Mine” EP is a beautiful song written as a dedication to the artist’s brother, who passed away after a decade-long battle with addiction. You can really feel the emotion and connection in this song, which includes audio samples from home movies.

Shelby’s music can be found at https://shelbynatashamusic.godaddysites.com.

New book teaches how to build ‘attention momentum’

citywidemax@yahoo.com (Citywide Blackout) — Mon, 06 Jul 2026 18:10:18 +0000

By Max Bowen

If people can binge-watch an entire Netflix series in one weekend, listen to a three-hour true crime podcast or spend hours scrolling TikTok, why does so much content online lose us after the first paragraph?

In his book, “The Digital Engagement Model,” Emmy-winning science journalist, professor and digital engagement researcher Ronald Yaros says the problem isn't that our brains are broken or that nobody can pay attention anymore. So why does some content pull us in while other information sends us reaching for the back button?

In this article, Yaros talks about people’s attention spans, why some content pulls us in or pushes us away, and the expectation we have when it comes to information.

Learn more about his work at digitalengagementlab.org and on Substack: @ronaldyaros.

Let’s begin with the notion that people’s attention spans are gone. Your research argues that this isn’t the case. How so?
People haven’t lost the ability to pay attention—they’ve become selective about where they invest it. Younger audiences still spend hours on YouTube, TikTok and streaming when content aligns with their goals. CNBC recently reported that sports organizations are increasingly using TikTok and YouTube because that’s where younger audiences choose to engage. The problem isn’t shrinking attention spans; it’s a mismatch between how information is presented and how diverse audiences consume it. Instead of assuming everyone is a committed reader with time to read a page of text or view a five-minute video, information needs to adapt to different users.

What have you learned in your research?
We’ve found that audience engagement depends as much on how information is structured as on what it says. Traditional communication assumes a single path through content, but today’s audiences have different interests, time and motivations. By enabling people to quickly assess relevance and choose their own path through different “chunks” of information, we can increase curiosity to build what we call “attention momentum,” which is what everyone calls “engagement.” The structure of information has become as important as its accuracy.

Why does some content pull us in and some pushes us away?
People take about three seconds to judge whether the content—music included—is worth their limited time. Content that immediately signals relevance, offers meaningful choices and rewards curiosity is more likely to hold attention. Content that demands commitment before demonstrating value is abandoned. Engagement isn’t simply about entertainment—it’s about helping people quickly recognize that the information is interesting, useful or personally relevant.

Why do the traditional methods of communication no longer work?
Traditional communication was designed for audiences who previously consumed information in linear, uninterrupted ways. Today’s media and mobile environments are filled with competing demands, constant interruptions and unlimited choices. The issue isn’t that traditional methods are wrong. They were designed for a different media environment. To reach larger audiences today, content must be adaptable to the diverse needs of today’s audiences while preserving depth, accuracy, and trust.

What are people’s expectations when it comes to information?
People expect the overwhelming amount of information to respect their time without sacrificing quality. They want to quickly determine whether content is relevant, decide how deeply to engage, and move easily between summaries and detailed explanations. Rather than forcing everyone through the same linear experience, successful communication allows different people to access the same information in ways that fit their goals, interests and available time.

Five by Five—Learning the role of spirit guides

citywidemax@yahoo.com (Citywide Blackout) — Wed, 01 Jul 2026 18:42:00 +0000

By Max Bowen

Imagine having a team of invisible allies who protect you, cheer you on, and nudge you toward the opportunities meant for you. In Katherine Marie’s “High Five Your Spirit Guides” (Inner Compass Media, July 28), you’ll learn how to identify, connect, and partner with these powerful companions.

In this interview, Katherine tells us what a spirit guides is, how to recognize the signs, and some of the common misconceptions that people have about them.

You can learn more about this at her Amazon page.

For those not familiar, what is a spirit guide?
A spirit guide is not easy to define, but the best way I’ve found to explain it is to describe it as a helpful presence. That can take the form of a being, as I personally see them and discuss them in my book, or simply as a strong feeling of connection to something greater than yourself. A spirit guide can even just be deep intuition. The good news is there is no right or wrong answer because everyone experiences Spirit differently.

What are some of the more common signs for a spirit guide?
There are all kinds of signs, from the very subtle to loud and clear. They can appear absolutely anywhere and all that is required is that a person keeps themselves open to the possibility they will receive one. For example, a very common sign is seeing a feather, usually in a place that’s unexpected. A feather is your spirit guide's way of letting someone know they are supported, protected and loved. But the signs aren’t only objects. A sign can be a sound, like a bell, to get your attention about something, or even a smell.

What are some of the misconceptions that people have about spirit guides?
One misconception is that spirit guides can be evil. Some people fear connecting with their spirit guide because they don’t want to let dark forces into their life. I can assure you, the spirit guides assigned to you throughout your life are nothing but positive entities of light. They will never hurt someone and are only here for their human’s highest good. Another misconception is that spirit guides control our lives or make decisions for us. In my experience, they offer gentle guidance, but we always retain our free will and the ability to choose our own path.

How does it change one’s life to be connected with their spirit guide?
When a person connects with their spirit guides, they no longer feel alone. They are supported and loved, with helpful nudges and signs to help guide them through life. There is a lot of power in being in touch with intuition, connectedness and higher guidance. By communicating clearly with spirit guides, doors open and opportunities present themselves. For example, if a person is seeking a soulmate and expresses that desire, their spirit guide will help lead them to that person. It’s as simple as asking and believing.

What is your background and what led you to learn about spirit guides?
My background is not spiritual, but rather scientific, and it took me decades to embrace my spiritual side. Even now, I am at times a skeptical person, but my spirit guides are patient and I always return to faith in them. I can’t pinpoint when exactly I learned about spirit guides, but through spiritual study and workshops, it became clear to me that they were present in my life. Looking back, I can see many moments of intuition, synchronicity, and guidance that I dismissed at the time but now recognize as part of an ongoing conversation with the Universe.

Five by Five—Poetry collection questions our place in the grand scheme

citywidemax@yahoo.com (Citywide Blackout) — Mon, 01 Jun 2026 19:54:21 +0000

By Max Bowen

In her new collection of poetry, “Loosestrife for Porcupines,” D M Gordon explores the grand scheme of things and our place in it and our search for joy. In this article, D M talks about the story behind the title, the theme of the book, and offers some advice for those looking to launch their own story.

Visit www.dmgordon.com for more information.

What is the story behind the title of the book?
"Here where I live, the long field is all. Loosestrife for porcupines, timothy for deer. For the cruising hawk, restless mice with adorable ears. Mice for the lanky wild dog. Mice for owls. They need to keep swarms of pink babies coming, mice do... Vultures arrive on a scent-trail, sky-high and valley-wide... Blood-fed ticks nourish wild turkeys and possums... rosehips for almost everyone..."

Purple loosestrife is invasive. Fringed loosestrife also grows in the long field, edible for porcupines. I was hoping for a deeper balance where porcupines ate the invasive. They eat the other but still, the ecosystem is all.

Is there an overall message or theme to the book?
The poems explore what David Attenborough expounds, that "we need to...remember we have no greater right to be on the planet than any other animal." From capybara to crows, spiders, horses, dogs, or goldfish, all of us live our complicated points of view, each according to each. Without being reductive, without judgement, the poems question our place in the grand scheme of everything, the difficulties we make for ourselves and our search for joy. It's life on the planet, from subatomic particles to the great insect chorus, the startling black of bears to shifting continental shelves, how we are connected.

Were the poems written all at once, or does this book incorporate older works?
They were written over time, not all at once. For me, poems don't plop out a dime a dozen, even with daily practice. A great poem, for which we are forever reaching, is one that is unique, specific, timeless and universal. A collection of poems requires patience, the surprises of lived experience—even if it's not autobiographical, even if it's about other lives. A poetry book grows and deepens with passing time. A long marinade enriches the final stew.

Do any of the poems stand out among the others? If so, why?
That's a harder question for the writer to answer than the reader. What stands out for me won't be the same as for you. Here, "Good Enough" describes the serene death gifted to a beloved horse, It's about the joy of life in death. "The Rapture," is a fable about the day God calls his faithful to heaven, ending with an unexpected turn. It focuses on the actions of one of the tiniest animals on what some thought was going to be The Last Day, emblematic of the ecosphere and our place in it.

For the readers who are trying to get their own book started, what’s your advice?
Keep the practice; stay open to wonder, what's uniquely yours to witness. Write frequently. If you lay a piece of paper on the floor, it's just a piece of paper. If you lay a new piece every day, slowly you build a tower. Build the tower. When you write, don't control it—daydream with images spindling through your fingertips, but don't construct, not at first. There will be time later. Read excellent writing, read widely—the sciences, the humanities, classic and new. Don't be a writer only writing about writing. Resist the siren call of AI. Turn off your smartphone.

Five by Five—Building community, one story at a time

citywidemax@yahoo.com (Citywide Blackout) — Thu, 21 May 2026 14:44:56 +0000

By Max Bowen

In Anne Shaw Heinrich’s new book, “House of Teeth,” she captures another facet of small-town life in the Women of Paradise County series.

“Jules Marks and his five little sisters can finally relax. Their feckless parents from Shakey's Half are doing time in the Paradise County Jail, and their Uncle Larry, Aunt Sally and Aunt Clarice have swooped in to give them the safety and security they deserved all along. As they settle into the closest thing to normal they’ve ever known, their neighbors and classmates are quick to remind them not to get too comfortable. Poulson’s only dentist makes a generous offer to help the Marks children fix their long-neglected teeth, but many folks object to the free treatment they receive. Meanwhile, Jules is figuring out how to be a man as he holds onto an ugly secret involving his dear friend, Violet Sellers. When cancer strikes the family, Jules decides to right a wrong that’s gone unchallenged for far too long.”

Anne goes into how her writing process has changed over the course of the series and her process for capturing small-town life. We talk about her protagonist and their creation process, as well as the future of the series.

Check out more at https://www.anneshawheinrich.com.

I want to begin with how your books capture small-town life. What’s your process, and has it changed or evolved over the course of your series?
My process has evolved, primarily because when I wrote the first book, “God Bless the Child,” it wasn’t created with a series in mind. That came later, so I’ve had to throw open the doors and windows on that original story to let the timelines breathe and allow other characters and places to bloom. It’s been an unexpected gift that has turned into something I could never have imagined when it started! When you think about how connected we are to others in the world by time and space and circumstance, the possibilities are endless for exploring and just shining light on voices that beg to be heard.

Who is Jules Marks and what went into his creation?
Jules doesn’t emerge in The Women of Paradise County Series until Book Two, “Violet is Blue.” He’s a little boy born into very tough circumstances just trying to come to terms with his place in the world. We get to see him discover that he actually has some agency. He can set things into motion and I’ve just loved helping Jules grow into a young man capable of loving deeply and being loved in turn. He’s based on a compilation of people I’ve watched from afar and up close. I care about him deeply.

It seems like you're creating the whole community, one book at a time. Where do you see this going?
It’s been a privilege to go deep and wide like I have. Each book adds new layers that could go on and on, if you keep honoring a shared humanity that is just there for the taking if our eyes and ears and hearts are open. Book Three, “House of Teeth,” has been just a joy to write. I’m thankful that the series has been extended to include a fourth book. I’m trying to give the story a respectable closure, so I can move onto another exciting stand-alone book. Who knows what will happen? I’m staying open to any and all possibilities.

Small towns are known for being close-knit. What are the ups and downs of this?
I would liken small-town living to an extended family of sorts. It’s a collection of people who occupy the same general space and therefore find themselves agreeing to a complex set of rules and unspoken expectations that generally suit the common good until challenged by something we just can’t dismiss—the human spirit. It’s inspiring and inconvenient, depending on where you happen to be perched within the ecosystem. Still, there's love, hate, and even an indifference that connects to a twice-removed kind of comfort we crave. I’ll never tire of exploring it.

What’s your advice for someone looking to launch a series of their own?
Keep an open mind and heart. Let readers make up their own minds about the characters and their choices. As their creator, you get to decide where to shine the most light, but the storyline still has to make sense. Let yourself play with time and perspectives, and be really intentional about reminding readers of what’s happened. Remember that they are not as entrenched in the story, so you have to keep them supplied with breadcrumbs.

Five by Five—Exploring a connection with mom

citywidemax@yahoo.com (Citywide Blackout) — Tue, 12 May 2026 18:04:33 +0000

By Max Bowen

In her memoir, “The History We Carry,” Margaret Whitford explores her relationship with her mother, which the author describes as at “an emotional and physical distance from each other.”

Whitford said she was inspired to write this book following her mothers passing, which she was not present for. Whitford begins uncovering the history that shaped their relationship—from wartime Europe to cycles of violence, loss, and complex PTSD. In doing so, she explores how generational trauma shapes identity, relationships, and the ways we move through the world.

Visit https://margaretwhitford.com for more information and to get your copy.

How would you describe your relationship with your mother?
I loved my mother deeply and believe she loved me but I could not feel the warmth of her love. It was something I understood intellectually. In that sense, we remained at both an emotional and physical distance from each other. In retrospect, I can see that my mother tried to express her love for me—in her words of encouragement, in acts of kindness—but my anger often kept me from appreciating her efforts to reach me.

What inspired you to write this book?
I was not with my mother during her final days, and I could have been. After she died, I realized that the distance between us fit a familiar pattern. Understanding its origins became the catalyst for the memoir. That led me to an exploration of my mother's history and the way it had shaped her and our relationship.

Were there any parts of the book that were a challenge to write?
There were, of course, challenges of craft but these are part of the writing process. The parts of the book that required me to delve deeply into memories of my childhood and adolescence were often emotionally very difficult. Writing the book at times ignited my grief for my mother and the childhood I had wanted but did not have.

What’s your advice for those writing similar books?
Be clear about your motives for writing the book. If you are looking for revenge, you are not likely to treat your characters with integrity. Be as honest as you can by asking yourself what role you might have played in the events you are exploring. Do not shy away from revisiting experiences that haunt you. And, finally, take care of yourself physically and emotionally because writing about trauma can be painful.

What do you hope people get or learn from reading your book?
I hope readers will be encouraged to examine or reconsider challenging familial relationships—especially those with their primary caregivers—from a new perspective, one that asks questions about the forces that shaped these people. I also hope doing so will give readers new insights into the patterns of their own lives. And, finally, I hope this understanding encourages readers to set aside those behaviors and attitudes that do not serve them.

Ink and Riffs—April edition

citywidemax@yahoo.com (Citywide Blackout) — Wed, 29 Apr 2026 21:21:00 +0000

“Astonishing X-Men” (comic)
Not a current title, but after checking out the adaptation on WebToon, I decided to dive back into this one. I love the sarcastic, witty dialogue, and Joss Whedon really shines as the writer for this series. The different plots come after some really dark storylines (genocide at Genosha and Jean Grey dying) and you can see how it weighs on the team. But hey, it usually works out…right?

Check this out on the Marvel Unlimited app.

“When Shadows Burn” (book)
I’ve been listening to the audiobook of “When Shadows Burn” by Todd Brown and it’s a really captivating tale. Here’s a quick rundown:

In the heart of Raven’s Cross, Virginia, the decaying Scott house looms. Its broken-window eyes watch a town desperate to forget. When Roxy, a teenage girl, vanishes into a sweltering night, long-buried fears erupt, and suspicion turns savage. The townspeople turn on the newcomers, blaming them for what they refuse to face in themselves. As polite smiles crack and old grudges resurface, Raven’s Cross’s genteel mask begins to slip, revealing the rot beneath.

Performer Emily Woo Zeller coneys the story perfectly and has created an array of voices that fit the characters well and just as important, can easily be recognized. Todd’s story doesn’t rush, taking the time to build the scenes, and the suspense, before jumping you when you least expect it.

Get your copy at https://www.toddbrownwrites.net/

RIFFS

“Tissues” (music)
This new from ALT BLK ERA has such a slick vibe to it with a mix of different sounds, creating a great musical atmosphere. I really dug this one, and am excited to check out their upcoming EP, “Our World,” coming out on May 22.

Check out more at www.altblkera.com.

“Labyrinth” (music)
The sound of “Labyrinth” by Zhaklina ft. Anastasia Elliot, is as haunting as it is beautiful, an epic blend of music that builds up as it goes and punches through right to your core. The song focuses on breaking free from the hold of unhealthy patterns and relationships that blur the line between devotion and self-erasure, inspired by the imagery of nightmares and the disorientation of grief, and one can feel the power that flows through it.

You can explore the work of both artists at http://www.zhaklina.com/ and www.beacons.ia/anastasiaelliot

Bif Naked brings new documentary to Departure Festival

citywidemax@yahoo.com (Citywide Blackout) — Mon, 20 Apr 2026 21:27:00 +0000

TORONTO, ON – Departure Festival + Conference announces that Canadian punk icon Bif Naked will headline a landmark evening on May 9 at Toronto’s Paradise Theatre – featuring the Toronto premiere of the biographical documentary “Bif Naked” directed by Pollyanna Hardwicke-Brown, followed by an acoustic performance and audience Q&A. The event brings together film, live music, and one of the most magnetic presences in Canadian music history.

“Bif Naked” is the definitive portrait of one of Canada’s most enduring and singular artists. Drawing on rare archival footage, exclusive interviews, and anthemic live performances, Hardwicke-Brown delivers a documentary as fearless and unfiltered as its subject. The film traces Bif’s journey from a birth kept secret in India, through adoption by American missionaries and a childhood in Canada, to her emergence as a galvanizing force in the underground punk scene of the late 1980s and early 1990s and beyond, into the international rock stardom that followed. Interviewees include George Stroumboulopoulos, Doug Fury, Chiko Misomali, and Peter Karroll, each offering their own testament to an artist who changed the course of Canadian music.

Bif opens up about surviving breast cancer, stroke, and kidney failure – as well as the sexual assault and systemic barriers she faced as a pioneer in a male-dominated rock industry. What emerges is not a story of hardship alone, but of extraordinary resilience: a woman who turned every obstacle into fuel, every scar into song, and every setback into the foundation of an even more formidable comeback.

Across 25-plus years in music, Bif Naked has built a legacy that spans punk, rock, spoken word and advocacy. She found her voice in the underground and never surrendered it to the mainstream, becoming a beacon for misfits and a symbol of empowerment for generations of fans, particularly young women who saw in her a model for living without apology. A poet and a fighter in equal measure, her music has always carried the weight of real experience: the joy and the grief, the fury, and the tenderness.

Following the screening, Bif will take the stage for a live acoustic performance – stripping her catalogue back to its essential core – before opening the floor for a Q&A that is sure to be as candid and electric as everything she does. For audiences who have spent decades loving her music from a distance, this is an opportunity to encounter Bif Naked up close: the artist, the survivor, and the storyteller, sharing the same room. The Departure Festival setting – with its tradition of celebrating the full breadth of Canadian musical life, from the emerging to the iconic – is a fitting home for this kind of evening.

The Departure premiere is part of a broader Canadian theatrical tour that has seen Bif and the documentary travel to venues in Toronto, Calgary, Kingston, and beyond since late 2025 – each screening paired with live acoustic sets and Q&A sessions. This is not a passive film experience: it is a full evening with one of the country’s great performers at her most unguarded, and audiences across the country have responded with the kind of fervour that speaks to just how deep Bif Naked’s connection with her fans truly runs.

For more information, visit https://www.ticketweb.ca/event/bif-naked-a-special-screening-paradise-theatre-tickets/14807693

Five by Five—Women spies and their role in WWII

citywidemax@yahoo.com (Citywide Blackout) — Tue, 07 Apr 2026 19:14:00 +0000

By Max Bowen

Pam Webber, the bestselling author of “The Wiregrass,” which was chosen as a Southern Literary Review's "Read of the Month," is back with a new novel, “Massawa” (She Writes Press, June 3), about the American women who changed the tide of World War II by working as spies in North Africa and the Mediterranean, inspired by true events.

We dive into the contribution made by women spies in World War II, the setting of North Africa and the Mediterranean and how this factors into the story and the real-life people who helped craft her protagonist Kit Thomas.

Tell me about the women who worked as spies and how they changed the tide of WWII.
Leveraging their gender, Allied women went largely unnoticed serving as operatives in Nazi-occupied countries. They set up communication systems, established safe-houses, helped trapped Jews and airmen escape, organized resistance networks and trained resistance fighters.

The British employed 4,000 women, 50 of whom served in occupied France, and the US employed 4,000, 1,500 of whom served in occupied Europe. American Virginia Hall epitomized the best of them. At 35, and with a prosthetic leg, she served in occupied France from 1941 to 1944. With a bounty on her head, she escaped multiple times using disguises and hiking the Alps in winter.

What was happening in North Africa and the Mediterranean at this time?
By 1942, the Nazis had invaded North Africa, intent on capturing the Suez Canal and the Middle East oil fields. The only ones standing in their way were the British, who were struggling to get supplies and find bases to service their planes and ships. To help, the US, which had not yet entered the war, solicited two private companies, Boeing and Douglas, to restore the airbase at Gura, Eritrea, known as Project 19, and recruited retired naval salvage officer Captain Edward Ellsberg to restore the naval base at Massawa. What Ellsberg accomplished became known as the Miracle at Massawa.

Can you explain more about the setting of Massawa and why it was so important?
Eritrea’s climate is extreme. Asmara, the capital, is in the cool mountains while Massawa is a desert town 70 miles away on the Red Sea. The trip between the two involves a precipitous 7,000-foot drop along a treacherous road and crossing a desert known as the hottest place on Earth. Ancient Massawans believed it was a gift to live in a place where the environment protected them from their enemies in the mountains. Also, given that the Red Sea has been a source of inspiration for poets for centuries, I had to give setting a pivotal role in the story.

How common was it for women to serve as spies?
While women have spied for their homelands for centuries, they did not become an essential element in the world of espionage until World War II when the U.S., in concert with the British MI6, started the Office of Strategic Services (OSS), the precursor to the Central Intelligence Agency. The first director of the OSS was William Donovan (aka Wild Bill). A notorious womanizer, Donovan realized that women were a natural emetic for men’s secrets, especially those who knew how to capitalize on their gender. Consequently, he ushered women into the role of international spies by the hundreds.

Tell me a bit about Kit Thomas and how you created her character.
In preparing to write Massawa, I read multiple books on the OSS, MI6, and female spies in World War II. The two that impacted me the most were “A Woman of No Importance” by Sonia Purnell, which highlighted the incredible work of Virginia Hall, and “Wild Bill Donovan” by Douglas Waller, which highlighted Donovan’s role as the father of American espionage and sexpionage. I could hardly believe the courage of Hall and the audacity of Donovan. Both helped sculpt the character of Kit Thomas into a fearless yet naive spy who didn’t hesitate to use her gender as tradecraft.

Ink and Riffs

citywidemax@yahoo.com (Citywide Blackout) — Tue, 24 Mar 2026 18:32:00 +0000

“Beneath the Trees Where Nobody Sees: Right of Spring” (comic)
This sequel to the 2024 release of this truly addictive title continues the story of Samantha Strong, everyone's favorite brown bear who runs the town hardware store. Just one thing: Samantha’s s serial killer with dozens of bodies buried in the woods, and no one’s safe—even the residents of the town of Woodbrook, where she calls home.
When the sister of one of Samantha’s victims comes to Woodbrook seeking answers, Samantha is only too happy to help….wait, what? Well, this one’s going to be interesting, and I tore through the issues to get to the absolute mind-blowing ending.
Check out more about the series at https://tinyurl.com/4jsrna4y.

“Making it So: A Memoir” (book)
I’ve been loving Patrick Stewart’s autobiography. “Making it So” covers his entire life, beginning with his childhood in the small town of Mirfield, England. I’m at the part where Stewart discovers his love of acting and we begin to see the direction his life is taking.
The book is really amazing. He holds nothing back, giving the reader such detail that it effortlessly paints the picture. He speaks to the good and the bad, such as the difficult home life caused by his father, and how it impacted him years later. Being a fan of Stewart’s work since “Star Trek: The Next Generation,” I was very happy to get this book for my birthday and cannot wait to see what’s on the next page.
You can find this book at your favorite book retailer.

RIFFS

“War Child” (music)
Pop-rock artist Mick Rochford’s “War Child” brings us the story of loss of children in wars. This is a powerful and heartfelt story with a message we should all hear. “You didn’t know my name, but you kill me all the same” is such a strong line, one of many that you find in this single.
Follow Mick on Instagram at rochfordmick.

“Primadonna” (music)
“Primadonna,” by Donna Dafi really drew me in and kept me listening with its strong, eclectic pop sounds. Dafi draws on her German, Nigerian and Albanian roots, and I got a sense of power throughout the song. The music has the kind of energy and passion that can’t be ignored.
Learn more about Donna’s music by following her on Instagram at donnadafi.