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

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

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”

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

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

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

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

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

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

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

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’

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

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

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.