Monday, August 31, 2026

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/.


Thursday, August 20, 2026

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.

Monday, August 17, 2026

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.

Friday, August 14, 2026

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.

Monday, August 3, 2026

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.

Thursday, July 23, 2026

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.

Tuesday, July 21, 2026

Five by Five—The search for faith

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.

Thursday, July 16, 2026

Ink and Riffs--July 2026

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.



Monday, July 6, 2026

New book teaches how to build ‘attention momentum’

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.

Wednesday, July 1, 2026

Five by Five—Learning the role of spirit guides

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.

Monday, June 1, 2026

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

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.