Author Archives: fordhampr

World-renowned guitarist/composer JOHANNES LINSTEAD to release new album “FROM SPAIN TO CUBA” with 2 concerts over next 4 weeks

For many years, I’ve followed guitarist Johannes Linstead‘s career; his albums filled with Latin and classical original tunes have topped worldwide charts and I’ve even recognized his music in TV shows. This charming and humble artist has built a huge following and to date, has enjoyed over 500 million (yes, MILLION) streams online. He’s been named Canada’s “Guitarist of the Year” and in the UK, been annointed as “People’s Choice” in annual music awards. He regularly collaborates with musicians from Cuba, Greece, Palestine, France, Canada, Australia, Iran and the Dominican Republic, and as he launches his latest album (both in CD and streaming format) with 2 southern Ontario concerts, Johannes will perform with some of his favourite local musicians. Concert dates and venues are at the end of the blog.

I reached out to Johannes for an interview and he was gracious to tease us with some details about this new album, From Spain to Cuba.

Congratulations on your new album, Johannes, what was your inspiration for this particular musical journey?  Like most of my Spanish and Latin guitar music, my compositions are inspired by my travels, usually to countries with warmer climates. Countries like Spain and Cuba have such a rich musical history – Spain is especially notable for the guitar and Cuba for its rhythms. I love to combine those elements into my music.Who did you bring into the studio to record with you? Or did you record remotely with these artists?  Actually, most of it was recorded remotely. The album features musicians from Dominican Republic, Colombia, Argentina and even Morocco.

I assume you’ve performed in Spain and Cuba? Did you perform with local recording stars there and if so, who?  Yes, I have performed in Spain and Cuba, but nothing too formal; just jamming and improvising with locals. Both countries are filled with amazing musicians.I’ve listened to the album and it’s so lush and sensual and juicy…fans will not be disappointed. Lots of dancin’ and romancin’ music. Will you have CDs available for purchase at your concerts in Burlington and Toronto over the next few weeks? Perfect Christmas gifts for music lovers.  Yes! These upcoming shows will be the first opportunities to purchase a copy of the CD. The album will be released to the general public November 15th and also available for streaming.Six years ago, your song Tropical Christmas hit the US charts where it became a big hit on US radio, charting at #1 for two weeks as the “Most Added” song on the Top 40 New Music Weekly chart, and #1 “Most Increased” song, putting you ahead of artists like Taylor Swift and Justin Bieber. So you’re now a millionaire, right? How difficult is it to make a good living even with incredible stats as these?  I’ve been very lucky. I’ve had a long and steady career. Streaming and concerts have been a good source of income, but another source has been licensing. My music has been used in many TV series, video games and movies. My music was even used in Despicable Me 4.  (As we’re closing in on the festive season, here’s Johannes sitting under a palm tree playing Tropical Christmas for us….)

A number of your tracks have been played in tv shows and films (proving there is such a thing as “6 degrees of Kevin Bacon” for The Following). Your music has even been used by Olympic figure skaters for their routines – how do you attract attention to secure “film placement”?  I usually get approached. I think music placement supervisors know my music and when they have the need for a certain sound they contact me.

Will you be doing any touring with the From Spain to Cuba album over the coming months? Or booking any festivals throughout 2026?  Yes, we’re planning shows for next year. We usually perform at performing arts centres and festivals.

And the best way to follow you? What are your social media handles?  Signing up for my newsletter via my website is one way, but I’m on all the usual sites.
https://johanneslinstead.com
https://facebook.com/johanneslinsteadmusic
https://instagram.com/johanneslinstead
https://www.tiktok.com/@johanneslinstead
https://x.com/johannesnews

Congratulations, Johannes, on this extraordinary new album…and welcome to Fordham PR – I’m excited to promote your shows and album.

Here are the dates for the album launch:
Sun. Oct. 26  2:30pm @ West Plains United Church, 549 Plains Rd W in Burlington

Wed. Nov 5  7:30pm @ Hugh’s Room,  296 Broadview Ave in Toronto

Tickets avail. here: https://johanneslinstead.com/shows

WRITER/DIRECTOR DAN BLAKEMAN TALKS ABOUT HIS DEBUT FEATURE FILM WITH A MURDEROUS GHOSTLY THEME

After years of writing and producing live theatrical plays, writer/director DAN BLAKEMAN has ventured into the film world, completing his first feature that has a decidedly ghostly theme – GHOST LIGHT. Maybe his theatre background inspired this story – a “ghost light” is the single bulb left burning brightly on stage when the audience and cast have left the building….it gives the ghosts of previous actors plenty of illumination in case they want to tread the paranormal boards again.

But the ghosts in this film’s theatre are not just spooky…they’re deadly! And the young actors breaking back into the place after dark to party will be met with some scary challenges that they may not all survive.  Oooo….aaaaah. Saucy Minx recently spoke with Dan (pictured below) asking about the inspiration, the casting and the filming experience….Congratulations on completion of your first feature film, Ghost Light. You not only directed the film, you also wrote the script – what was your inspiration?  It’s based on a play I wrote that was produced a few times in Los Angeles, which was just a goofy attempt at an environmental horror play about college kids breaking into a haunted theatre. It wound up getting interest from the film industry multiple times, which resulted in over half a dozen different screenplay drafts of the material over several years, but unfortunately never made it to production. When my partner Drew and I decided we wanted to make a feature film, it was the obvious choice.

In your director’s statement in the media kit, you say that Ghost Light is like “the fever dream of a 14-year-old who binged on the local video store’s entire horror section one weekend.” What were you favourite horror films growing up and were your parents worried about you with such scary influences?  I kinda am that kid! Before Blockbuster completely took over VHS rentals, there were lots of little video rental places everywhere that had all kinds of bizarre and offbeat horror films, I’d often rent 3 a day to watch with friends or alone. I have too many faves to get into, especially since they switch up all the time, but fans like me should see all kinds of references and homages in Ghost Light.
My mom always loved a good ghost story, and used to watch the old Universal Horror classics with me when I was 5, so I don’t think that particular fixation gave her much concern. Though she wasn’t too keen on how much I loved Rocky Horror as a teen, LOL!

I always like asking filmmakers what was most difficult about the whole process? The writing process, the location hunt, casting, editing…or the post-production admin stuff?  All those aspects had their challenges. Post-production was a lot slower than we wanted or anticipated due to a bunch of different issues, so that was probably the most frustrating overall.

I previously had the pleasure of working with you and your producer partner, Drew, when you presented a number of theatre productions in Toronto, again with somewhat strange themes and bizarre story lines. Did you find the shift from live theatre to film a challenge? And how is it different from a creative perspective?  Even though the bulk of my experience is in live theatre, I have a BFA in Film & TV. I interned with a production company which included several commercial gigs, and we produced an award-winning short film of my one-act play Bugbaby (featuring cult movie icon Mink Stole – pictured below) some years ago. So while it’s definitely a different experience in how everything is put together, I think I’m well versed enough with both mediums to slip between them without a lot of difficulty. It’s just switching gears.Casting your film must have been interesting…your actors are young, good looking and talented, some even have several years of film experience. Did you cast within the horror genre community or did you do an open casting session?  Whether theatre or film, I always open casting as widely as I can. Since we were on a limited pre-production schedule due to the availability of our location, we cast as quickly as we could. Alec, Mason and Sarah were cast from our first round, but finding our “final girl” who fit with them was challenging. That search took us up to the line – Ariel Myren, who got the part, auditioned on a Wednesday and started shooting that Friday. And you brought in a much-loved horror movie queen, Linnea Quigley, as a “guest star” – how did you meet her and secure her for a special role?  Honestly, we just called her agent. None of us had a connection, I just gave our casting folks a list of four names and said any would be great. We actually secured another name first because someone knew that person, but she fell through due to scheduling. Which actually turned out for the better, because our next inquiry was to Linnea who was interested – and in hindsight a better fit for this particular project. She and her manager Judy are both just wonderful to work with. Not only is Linnea (pictured below) a legendary scream queen, she’s an absolute sweetheart, a trouper and a total pro.And renowned Harry Manfredini as your music director? He’s scored over 100 films in the horror genre incl. Friday the 13th – how did you meet him and sign him for your film?  That one WAS a connection from a guy we’ve been working with on seeking distribution. But hearing that Harry (pictured below) actually *wanted* to score it after watching it was quite thrilling for me! Working with him was a great experience as well – he’s as accommodating and fast as he is talented, and I hope we can sign him for something with a larger budget in the future.Do you intend to continue writing & directing feature films or might you return to live theatre…or do both?  Right now, I’m concentrating on film for the time being. I love theatre and would love to return to it – but creating it at a pro or semi-pro level these days in LA is expensive, and audiences for smaller, edgier theatre are lacking. Film currently feels like a lot more practical way to get my stuff in front of more fans of the kind of weirdness I like – unlike theatre, you’re not necessarily limited by location or time to watch a film.Thanks, Dan, Saucy Minx was thrilled to talk with you and share news of your new film with all the horror/paranormal genre fans out there.  And fans can follow the movie and watch for screening news via the Ghost Light Facebook page.  Here are a few behind-the-scenes pics of the cast and the amazing special F/X make-up used…

Director Dan Blakeman (L), star Linnea Quigley (C) and producer Drew Blakeman (R)

INNOVATIVE & EXCITING A.I. THEMED PLAY BY TORONTO-BASED THEATRE CO. HITS THE FRINGE CIRCUIT

I was thrilled to meet actors/creators Yana Menov and Yuriy Popov of Toronto’s indie theatre group Studio Reflection Theater and was even more excited when they asked me to help promote their current Fringe Festival performances of The Turing Test in Kingston and (next week) London, Ontario. Summer is not the ideal time to present stage festivals – let’s face it, everyone is either up at the cottage or enjoying family BBQs in the back garden and is definitely a challenge to get bums in seats. But these two talented actors have been working hard promoting their shows in person: handing out flyers, putting up posters and burning up social media with photos, videos and promos. Whew, it’s hard out there for an actor!

The Turing Test is a sharp, emotionally resonant, and genre-blending theatrical piece that invites audiences to reflect on what it truly means to be human through a sharp, witty and visually rich exploration of relationships, technology, and identity.

Yana and Yuriy successfully wrapped up their shows at Windsor Fringe Fest about 10 days ago, and are currently mid-run at The Grand Theatre at this year’s Kingston Fringe. Then next week, they’ll be hitting the stage at the Palace Theatre in London. In between performances, I got a chance to ask Yana and Yuriy a few questions about The Turing Test, a look at how Artificial Intelligence could impact our personal lives and how human emotions can impact the inter-species(?) relationship.

Yuriy and Yana, congratulations on mounting the play The Turing Test at the various Fringe Festivals across Ontario. What first inspired you to present the play and who wrote it? 
Yuriy (Y): Thank you! I first read The Turing Test and thought, “This is either a comedy, a tragedy… or both — which means it’s perfect.” It’s by Russian playwright Igor Yakimov, and it’s got that rare mix of wit, philosophy, and emotional gut punches. I was hooked because it’s about so much more than AI — it’s about human connection, which, ironically, is the thing we humans most often struggle with.
Yana (Ya): When Yuriy showed me the script, I was laughing one moment and tearing up the next. The dialogue felt alive, like it was speaking directly to me. And under the humor, there was this tenderness and truth about loneliness, love, and the strange ways we find each other. I couldn’t resist it.You’ve performed The Turing Test in Russian and now have translated the play into English for Canadian audiences with subtitles shown on the screen behind the action on stage. How do you enjoy performing in English…do you ever slip in Russian?
Yuriy (Y): Performing in English is like wearing a suit tailored by a very talented but slightly unpredictable tailor — it fits, but sometimes you discover an extra pocket you didn’t expect. We rehearsed so much that the language stopped being a barrier and became part of the character’s voice. Yes, on rare occasions a Russian word will try to sneak in — they’re stubborn like that. And I’m sure there’s still a Russian accent, but audiences tell us it disappears from their mind after the first ten minutes.
Yana (Ya): The rehearsals made the English feel completely natural – at this point it’s not about “translating” anymore, it’s about living inside the lines. The text is so layered that once you’re in the emotion, the English flows without thinking. We might still have a hint of an accent, but once the audience is drawn in, it’s just part of the rhythm of the play.With so many people concerned about the use of Artificial Intelligence in everyday life, how does the play’s subject affect audiences? Have you received comments from people about their fears of AI?
Yuriy (Y): We’ve had people come up after the show and say, “This is exactly why I don’t trust my smart toaster.” But seriously — the AI element gets people thinking, not so much about robots taking over, but about what makes us… us. Are we really so different from the algorithms we create? Think of it as dessert for your brain — sweet, a little strange, and maybe a bit dangerous.
Yana (Ya): Some arrive expecting a “tech” story, but what stays with them is the emotional side — how easy it is to open your heart to something (or someone) you don’t fully understand. It makes them think about their own relationships. AI just happens to be the mirror we’re holding up.

Where did you both train for acting? Did you meet in acting school or on the stage?
Yuriy (Y): We’ve both been fortunate to train with highly skilled professionals in the drama world – people who really pushed us to grow and challenged us to think differently about performance. We actually met while working on another production, which is the actor’s equivalent of meeting in a foxhole: you learn a lot about someone when you’re both trying to remember your lines and not fall off the set.
Yana (Ya): Yes, our first meeting was in a production where we barely had time to say “hi” before being thrown into intense rehearsals. It felt like being tossed into the deep end — only the water was pure emotion, and you just had to learn to swim together. After the current run at the Kingston Fringe Festival, you head off to London, Ontario, next week to their Festival. Any expectations of a new audience? Is the London Fringe already promoting ticket sales?
Yuriy (Y): In Kingston, the best “marketing advice” I got from a professional artistic producer was: “If you want more people at your show, go to a pub, have a beer, talk to people, and cry that you came for the Fringe but nobody showed up. People here have big hearts — they’ll feel sorry for you, and the whole pub will follow you to your venue. Just make sure you negotiate with the management so they can bring their beer along.”
For London, we’re hoping we won’t need to consume quite that much alcohol to fill the seats. We trust people will see the audience feedback on our Instagram and be curious enough to check it out. And yes – tickets for London are already on sale. But if all else fails… we know which pub to start with.
Yana (Ya): Kingston showed us how open-hearted Fringe audiences are — sometimes all it takes is an honest conversation to make a real connection. For London, I hope curiosity will come from the buzz, from friends telling friends, and from those little glimpses we’ve been sharing online. There’s something magical about walking into a theatre expecting an unusual story.

You have a special one-night-only performance of The Turing Test in Toronto happening in September. I gather it will be staged in an intimate studio space north of the downtown – do you anticipate a longer run closer to downtown Toronto sometime during the winter months?
Yuriy (Y): That’s the plan. The September show is a “stress test” for the play – small space, close audience, nowhere to hide. If it goes as I expect, a downtown winter run will be the logical next step.
Yana (Ya): I love intimate spaces because you can feel the audience breathing with you. It’s electric. And yes, I’d love to bring it downtown — the more chances to share it, the better.

Any other projects in the works?
Yuriy (Y): Plenty. After seeing other Fringe shows, we’ve been buzzing with ideas. You see another actor do something brilliant and think, “Yep, I’m stealing that… respectfully.” Between that and our own original concepts, our plate is full. Plus, we’re part of other theatres’ productions, so sometimes we’re not just cooking the meal – we’re also the surprise ingredient.
Yana (Ya): And in the middle of all that, we’re rehearsing two completely different children’s plays – one a traditional piece, the other a fully interactive show where the audience becomes part of the story. It’s like switching between a classic novel and a choose-your-own-adventure book. Keeps us on our toes… and slightly sleep-deprived.

How can people follow you – do you have a website or social media?
Yuriy (Y): We’re easy to find — search studio.reflection.theater on Instagram or Facebook. You’ll see our adventures, behind-the-scenes moments, and the occasional teaser that makes you go, “Wait… what on earth are they doing on stage?”
Yana (Ya): Social media is the best way to follow us — see show clips, join the conversation, and occasionally catch a late-night philosophical musing about theatre. We promise, it’s more entertaining than your average bedtime scroll.

Thanks Y & Y – so if you live in the Kingston, ON area, you only have a couple more performances, but if you’re a Londoner, you can catch several performances at The Palace Theatre – see details below. Tkts avail. here: https://palacetheatre.ca/london-fringe/ 

Nash the Slash Rises Again! after years of hard work, sweat & a few tears, the film is set to screen soon

I recently spoke with Colin Brunton, co-writer (along with director/producer Tim Kowalski and editor Kevan Byrne) of the upcoming docu-film on the life and career of one of Toronto’s most mysterious music legends from the 80s, Nash The Slash. I remember hanging out backstage with Nash after a big concert at the Phoenix Nightclub in downtown Toronto, and was invited into his dressing room (no, I was not a groupie…LOL) to help him get out of costume which included his famous “invisible man” bandages.Nash was a very secretive artist, so talented and intriguing. But we lost him way too soon, and I remember the sadness that permeated the town, much like the other Canadian icon of alt.music we lost early in his career, Handsome Ned. Anyway, Colin gave me an exciting update on the film’s completion and their plans for screenings in the coming months.

Congratulations on completion of your film…what challenges, apart from financing, did you and the team have to overcome to get to this end point?  Finding the time.  On a regular project, you have dozens of people working full-time, but there were only four of us, so in between day-jobs, families, and everything that comes with that, we’d pick away at the film. Also, ensuring that we had rights to use photos and old TV clips was a huge job. Nash’s story goes back fifty years; companies don’t necessarily keep everything, so there was always a lot of detective work on our part.

Were you able to source any previously unseen images or recordings from the fans or other music industry professionals?  We do have a few gems very few people have seen, and we’ve created better versions of a lot of stuff you might find on the ‘net.Now, it’s on to film festival submissions – which fests are you targeting? And are you submitting to festivals outside of Canada? We’re applying to some festivals, but I’d hate to jinx it by saying which ones.

Are you hoping for a theatrical release after festival screenings or are you looking at streaming services or documentary tv channels for maximum viewer impact?  We’re under no illusions that this will have a typical theatrical run, so we’re working on some off-the-radar venues.  It may be more like a tour of one-nighters rather than parking it in a multiplex for a couple of weeks.  With a one-nighter, we can have better control of the presentation, and make sure they play it loud.  Nash liked it loud.  As for TV?  CBC, for one, have made it clear that they have absolutely no interest in Nash’s story. (pictured below, Director Tim Kowalski & sound-mixer Daniel Pellerin)What would you like to tell fans of Nash and those of us who lived and loved the incredible 80s music scene in Toronto?  For those who lived it, it’ll be a reminder of when Toronto was a lot more interesting. We had a screening couple of years ago for some twenty-something film students and they were fascinated by the whole story, especially the ‘80’s footage.Colin, is there anyone you would really like to acknowledge and thank for making it all come together? I saw a woman wearing a t-shirt that said “Yes, I’m still working on my f*$ing documentary,” so really, first and foremost we have to thank the fans for all their patience watching this evolve over the past seven years. 400+ fans supported us in our crowd-funding efforts, as well as being very generous with photos and footage.  Music supervisor Natasha Duprey; photographer Paul Till; Trevor Norris and the Nash estate; Gary Topp for his encouragement and advice; Lawyer David Steinberg for keeping us on the straight and narrow. I could go on, but I know I’m still going to miss some people. (pictured below, Colin Brunton)

How can we follow this story of Toronto’s legendary artist who we lost way too soon?  We’re on https://www.facebook.com/NashTheSlashDoc/ as well as IG and Bluesky

o

“GROWN ASS’D BROADS TALKIN’ DIRTY” TO OPEN IN TORONTO FRINGE FEST JULY ’25

Well, it’s that time of year again when Toronto’s actors, writers and directors take over every available theatre space to present their latest works and entertain us. And I’m proud to announce that my talented friend Tricia Williams and her castmates will be presenting their fabulous and funny Grown Ass’d Broads Talkin’ Dirty to audiences in the Crest Theatre Green Room at the Performing Arts Lodge (PAL) 110 The Esplanade starting July 2.The play tells of five bawdy and fierce broads who meet monthly to enjoy theme parties at each
others’ houses – friends since they belonged to the same volley ball team as teenagers. We catch up with them several decades later; they are not so much friends as sisters…sometimes rivaling sisters. There will be booze, food, bitching, arguing, laughing and cussing. It’s like an episode of the Golden Girls but funnier…and dirtier!Grown Ass*d Broads Broads Talkin’ Dirty was written by the incomparable Valerie Boyle (pictured below). At 75 years old, this is her first Toronto Fringe Festival! She was most recently seen on Canada’s Got Talent and wowed the judges with her sense of humour and her poignant rendition of Send in the Clowns. Valerie starred for several years on Broadway as Mrs. Brill in Mary Poppins. She was Shirley in Shirley Valentine for a Canadian Tour and Mother Superior in Nunsense for twelve productions – a role she is resurrecting in July at the Victoria Playhouse Petrolia for Nunsense’s 40th Anniversary.Director Christel Bartelse has wowed Fringe audiences and beyond, with her one-woman shows and has been nominated twice for a Canadian Comedy Award and has earned rave reviews. She has toured every major Canadian fringe festival, as well as several in the U.S. and has performed twice at the Edinburgh Fringe Festival. The cast includes Andrea Davis (Intimate Apparel, Hamlet), Jorie Morrow (Disarming Venus, Checkpoint 300), Linda Joyce Nourse (Transplant and the Women at Play Festival), Morrie Sinkins (Disarming Venus, Shaw Festival) and Tricia Williams (The Sorauren Book Club, Hymns and Hearse).

Get your tickets now at: www.fringetoronto.com 

Canadian Black Music Archives launches “B’Lack Then” exhibition of music icons & pioneers.

I thoroughly enjoyed my visit to the Canadian Black Music Archives launch event last Thursday for their B’Lack Then exhibition of memorabilia, instruments and costumes from Canadian music icons and pioneers. The show runs until February 2026 in the Archives of Ontario housed in York University in Toronto (details at end of story).I was thrilled when I was contacted a few months ago by curator, Shadio Hussein, to secure items from Claudja Barry who continues to enjoy a successful career first in disco music, then on to R&B as well as appearing in films, world tours and making her own documentaries. Claudja submitted a gorgeous beaded gown worn on stage and in videos, her “boogie woogie dancin’ shoes”, several magazines from the 70s and 80s with multi-page photo spreads and interviews, press clippings and all manner of mementoes from her exciting career. (pictured below – Shadio poses with Claudja’s beaded gown and some of Claudja’s photos and magazine articles)
Spread across eight glass showcases, the exhibit illuminates the lives of 23 artists across 10 music genres through photographs, albums, newspaper clippings, film screenings, discussions and more. Visitors are invited to explore significant albums, singles and compilations by artists such as Portia White, Salome Bey, Jackie Shane, Jackie Mittoo, Leroy Sibbles, Nana McLean, Adrian Miller, Motion, Rochester aka Juice and Gene King. Rare sheet music by the Ball Family, Shelton Brooks and Nathaniel Dett is also featured, along with original performance costumes worn by King Cosmos, Claudja Barry and Rochester aka Juice.

King Cosmos poses with his own costume & Claudja’s gown

The celebratory evening presented a number of performances by artists featured in the exhibition or their descendants (Tuku, daughter of Salome Bey / Robert Ball, a descendant of the Ball Family Jubilee Singers / Brooke Blackburn of the Blackburn Brothers & son of Bobby Dean Blackburn), speeches from VIPs and congratulations – bravo to Executive Director Phil Vassell (pictured below) and Managing Director Donna McCurvin and to the archivists and curators who worked so hard to amass a collection of artists from so many different genres. Ontario head archivist Jacqueline Spencer (pictured below Phil) spoke eloquently of her colleagues who dug deep to learn about and locate so many of the musical legends.

The exhibition will run through February 2026 to coincide with Canada’s Black History Month.
Located at 134 Ian Macdonald Blvd at York University (opposite the York U subway entrance).
Details: https://www.archives.gov.on.ca/en/events/Canada_Black_Music_Archives.aspx
Open Mon-Fri 8:30am to 5pm   FREE ADMISSION!
Follow @the.cbma on IG for up-to-date news.

MEET JULIA BERNSTEIN, THE FUNNY LADY BRINGING MEATY COMEDY TO THE L.A. MASSES!

I recently discovered online videos and social media posts from a fab and funny LA-based comedian, Julia Bernstein (pictured below) who’s been presenting a comedy variety show called the Bologna Sandwich Show. She’s wonderfully silly as well as provocative, and she’s building quite the following online. Julia has now created a series of live shows with special comedy guests as well as audience participation – the first show goes up on June 6th at the Glendale Room, just outside of downtown Los Angeles (ticket info/link provided at end of this interview)I reached out to Julia to congratulate her on this ballsy endeavor to present live curated shows and asked her a few questions about her comedy career journey so far …..

Julia, what inspired you to take up comedy for a living and not become, say, a doctor or teacher?  I’ve always known I wanted to entertain people and make them laugh. My mom loves to tell this story—whenever she was going through something tough, I’d start being goofy just to cheer her up. It was my way to heal people! Also, any “normal” job I’ve ever had, all I would think about is how I wished I was doing something entertaining. I’d always keep a notepad of jokes or funny skit or sitcom ideas. In 2007, I did a show at the public access station called, The Boring Show, doing things like read a dishwasher manual for 45 minutes and then have guests come on & be super awkward and funny. I wish I had kept that going and dove into comedy back then, but I think I just didn’t trust the process yet.

 

Who are your comedy heroes or influences?  I’ll give comedian names and my favorite TV shows/movies… Chevy Chase, Martin Short, Will Ferrell, Monty Python, Larry David, Pee-Wee Herman, Airplane the movie, The Three Amigos, and Sasha Baron Cohen.

Your Bologna Sandwich Variety Show has been shared on YouTube and now you’re going live at the fabulous Glendale Room, just outside of LA. Is everything going to be improvised or do you have a scripted outline to help control the anticipated mayhem?

That’s a great question! It’s scripted, in the form of my Bologna Sandwich Public Access Show where I interview a guest, but this time I’m gonna have a couple guests on stage with me and a co-host…So scripted but also allowing room for improvisation. Think Comics Unleashed meets The Eric Andre Show.  I’m going to give out heckle passes & get the audience involved…have them be a part of the show. So yes, controlled chaos, I guess. My good friend Dicey is helping me produce the show, which is good because I am not organized.

 

Now you must tell us why “bologna sandwich” for a title? Where did that come from?

I had been wanting to have a show where I interview people but also have silly funny weird segments involved. I didn’t know what to call it, then I remembered the story about how my mom and dad served bologna sandwiches at their Jewish Pentecostal wedding, and I knew right away that has to be the name of my show – Bologna Sandwich Show! Because life is bologna and I think it’s a perfect name for a show! Plus it pays homage to my family, which is super important to me.

 Are there any guests you would love to invite to your live show such as your favorite actors, comedians….?  You know living in Los Angeles gives me access to so many people that are close by. I would love alumni from SNL days that are in my area to be a part of my show. Giovanni Ribisi – he’s one of my favorite actors. Maria Bamford, she’s one of my favorite local comedians. Any local celebrity and or politician would be fun to have on the show.

 

So Julia, what’s your “end game”? Would you like to eventually have your own comedy chat show on one of the more popular streaming channels or network tv?  Yes, my long-term vision for the show is that it is picked up on a major streaming platform. I want it to be a place to showcase comedians – especially those who have put so much time and work into the craft. Have it be a stepping board or spring board for people to try something new with their comedy. Also involve serious conversations about life. I feel like life is bologna…the good, the bad and the ugly so I want to encompass all of that in my show.

 

BTW, have you ever watched Tiny Chicken Machine Show on YouTube? Created by Mediocre Films, they are my indie heroes from YouTube’s early years.  I just watched it I haven’t heard of it but it’s hilarious that’s absolutely the vein of what I’m thinking for my show a little less wacky but kind of like that. I love the absurdity of that

How can comedy fans find you – is there a website or social media?

Yes, you can follow me @bologna_sandwich_show on both YouTube & Instagram and julia_bernstein on TikTok.

And click on this link to my June 6th show in Glendale:   https://www.eventbrite.com/e/bologna-sandwich-show-friends-of-the-bologna-with-julia-bernstein-tickets-1369322403169

AUTHOR HEATHER BABCOCK CELEBRATES 5 YEARS OF “FILTHY SUGAR”

May 2025 marks the 5th anniversary of Heather Babcock‘s book “Filthy Sugar”. This titillatingly titled book is, in fact, a provocative (and fictional) look at the life and times of a young woman of the 1930s let lose in a city full of colourful characters, gangsters, hoofers and burly-q queens during a time of economic depression and squashed dreams.  As the book’s promo says:

Set in the mid-1930s, Filthy Sugar tells the story of Wanda Whittle, a nineteen-year-old dreamer who models fur coats in an uptown department store, but lives in a crowded rooming house with her hard-working widowed mother and shrewd older sister, in the slums; a world where “death is always close but life is stubborn.” Bored with the daily grind and still in shock from the sudden death of her father, Wanda finds both escapism and inspiration in the celluloid fantasies of the Busby Berkeley musicals, Greta Garbo dramas, and Jean Harlow sex comedies. Strutting up and down the aisles of Blondell’s department store, Wanda fantasizes that she’s Ruby Keeler, the tap-dancing sweetheart from 42nd Street (pictured below) But Wanda wants more than to wear a glamourous woman’s coat—she wants to live inside of her flesh.

Her dreams come true after a chance encounter with the mysterious proprietor of the Apple Bottom burlesque theatre. Suddenly Wanda is thrust into a world of glitter and grit.  Descending from the roof top of the Apple Bottom theatre on a red velvet swing, Wanda Whittle morphs into a dream named Wanda Wiggles; sweeter than a strawberry sundae and tastier than a deep dish apple pie. At the Apple Bottom she meets Lili Belle, a naughty cartoon flapper brought to life, Queenie, a sultry headliner whom Wanda feels drawn to like a bee to a butterfly bush; the sweet and salty club drummer Eddie, and Brock Baxter, the Apple Bottom’s vaudevillian comic whose apple cheeked, pretty boy exterior belies his sinister intentions.
All will have an impact on Wanda’s journey. Cowardly boxers, shady coppers, dime store hoodlums, and painted ladies—Wanda will encounter them all. On her voyage from rags to riches and back again, Wanda experiences a sexual awakening and achieves personal independence as she discovers that a girl doesn’t need a lot of sugar to be sensational!  So, are you intrigued yet? Filthy Sugar is available online (Amazon & other online outlets) plus at your favourite bricks-and-mortar bookstore. I had the opportunity to chat online with the talented author and here’s what Heather shared with me….

Heather, it’s been 5 years since your book, Filthy Sugar, hit the bookstores – how has the journey been for you as an author?  Thank you! Well, it’s been quite the journey! Filthy Sugar is my debut novel and it was released in May of 2020, at the beginning of the Covid-19 pandemic. That alone made my journey an unpredictable and unchartered one. I quickly learned to roll with the punches. There are often more lows than highs in this writing business so you’ve got to celebrate every win.

Has your publisher (Inanna Publications) been supportive and encouraging, especially during the Covid years when people were forced to find solo activities and entertainment such as reading?  Definitely! The Covid years presented challenges that were new to everyone in the publishing industry. Everything – events, book sales – that had previously been brick and mortar had to quickly be moved online. The planned book launch was held virtually and was attended by over one-hundred people; most in-person bookstores probably wouldn’t have been able to accommodate such a crowd. Word on the Street (WOTS) was also moved online that year. Renée Knapp, who was Inanna’s publicist and marketing manager at the time, was always on hand to answer any questions I had and to help ease my anxieties – and there were many of them in those early days. Looking back, an unexpected benefit to the pandemic was that because people were stuck at home, and many had more free time and even more money on their hands, they were more likely to buy books. I had many friends who marvelled at how quickly Inanna fulfilled their book order. Remember how much fun it was receiving a package in the mail during the Covid days?

The heroine of your story, Wanda, is a sassy 19yr old with dreams of dancing with Ruby Keeler and hanging out with Garbo and Harlow – her screen idols.  They say “write what you know” so is this era and the B&W films of the time you favourite personal interests?  Yes, my father introduced me to classic movies. He loved all of those great glamorous dames: Greta Garbo, Audrey Hepburn, Elizabeth Taylor. My favourite memories are of watching films like Roman Holiday and A Streetcar Named Desire with him. While researching Filthy Sugar, I immersed myself in the movies of pre-Code Hollywood: films that were made before the enforcement of the Production Code in July of 1934. The 1932 sex comedy Red-Headed Woman, which stars Jean Harlow (pictured below), had a big influence on my novel. I also reference it in the book as it’s one of Wanda’s favourite movies. My father passed away in 2010. I wish he was alive to read Filthy Sugar because I think he’d like it – although he probably wouldn’t approve of Wanda’s raunchier antics!

And what inspired the story…are your characters based on personal friends or perhaps the great dames of the screen – Mae West, Barbara Stanwyck, Joan Crawford?  In January of 2015, for no reason at all, or at least no reason that I can remember, I decided that I was going to read as many books written and published in the 1930s as I could. I began with Henry Roth’s 1934 novel Call It Sleep. My partner, noting my new interest in the decade, bought me a second-hand copy of Pierre Berton’s 2001 historical book The Great Depression: 1929-1939. I began to submerge myself in 1930’s history and pop culture. The ambivalence of the decade fascinates me. Although it was a time of great suffering, the 1930s produced some of the most beautiful music, films, literature, fashion & décor and visual art, all of which has had a great influence on future generations. It was also a time of important social upheaval and change: birth control, unions, workers’ rights (including the minimum wage and 40-hour work week) all came into fruition during the decade. The characters in Filthy Sugar are fictional but, like the youth of their day, they themselves are inspired by the stars and characters that they see in the movies. Wanda is obsessed with Jean Harlow and Greta Garbo and I pictured Eddie, the burlesque house’s drummer, as speaking like Jimmy Cagney.

Have you done many in-store book signings and readings? Any coming up?  Because my book was released during the pandemic, I unfortunately didn’t have the chance to do in-store book signings. However, I was able to participate in online readings and when things began to open up again in 2022, I read at the Bright Lit, Big City reading series at Hirut Cafe (pictured below) and later that year, I was invited to speak at the Vintage Film Festival in Port Hope. I spoke on the topic of “Dangerous Dames – Celebrating the Women of Pre-Code Gangster Movies”. It was an amazing experience and I got to share Filthy Sugar with like-minded movie fans. Coming up, I will be presenting “How to Write a Novel When You Don’t Have Time to Write a Novel” at the Toronto Public Library. My presentation will be at the Agincourt branch on Saturday, July 5th at 2pm. Anyone who is interested in attending can call the library at 416-396-8943 to register.

You set the story in 1930’s Toronto as opposed to New York or Chicago…..why?  The city that Filthy Sugar is set in is fictional: it could be any urban city in North America during the 1930s. This was a conscious choice to give me artistic license and freedom. Wanda’s world is Blondell’s Department Store (a fictional store named after Joan Blondell, one of my favourite actresses from the pre-Code period); the Apple Bottom burlesque theatre where she becomes a star and “the World Behind the Market”, which is what she calls the “slum” where she lives.

Has your publisher suggested an appearance and book sales during Word on the Street this fall?  As far as I know, I won’t be at the Word on the Street this fall but I did attend with my publisher in 2023. It was a lovely afternoon of book signings and catching up with friends in the literary scene, many of whom I had not seen since before the pandemic…see photo below

Is there a sequel in the works or are you working on an entirely different concept or plot for your next book?  At this time, there is no sequel in the works but you never know. I am currently working on my second novel, The Memory of Crows, which is a noir inspired tale of sibling rivalry.

So congratulations again to Heather on the past 5 years of Filthy Sugar…hopefully the book will continue to be bought or taken out of the libraries, read online or listened to via audio books. Maybe a film? Reads just like one of those fabulous movies Wanda loved.

Filthy Sugar by Heather Babcock
Inanna Publications – available in paperback, e-book and audio book from all your favourite bookstores, AppleBooks & Amazon.

RON KORB PRESENTS SPECIAL SAKURA CONCERT CELEBRATING CHERRY BLOSSOMS @ THE JAPANESE CANADIAN CULUTRAL CENTRE

Congratulations to Ron Korb and the staff & volunteers at Toronto’s Japanese Canadian Cultural Centre for presenting a wonderful concert to celebrate sakura season this past Thursday evening. Featuring taiko drummers, dancers and a children’s chorus, the show featured many songs from Ron’s latest album, Global Canvas, as well as traditional music and tunes from Ron’s previous albums.

It was a packed audience in the stunning Kobayashi Hall with several VIPs in attendance including Matsunaga Takeshi – Consul General of Japan, Senator Dr. Vivienne Poy, Bruce Kuwabara QC founding partner of KPMB, Noriko Yamamoto – Executive Director at The Japan Foundation, and numerous media celebs including Ken Stowar Program director of CIUT Radio and host of Global RhythmsAdi Braun former Classical FM host and current host of Soulscapes, Tom Treumuth – music producer and podcaster, Sonya Davidson of The Toronto Guardian, and Dr. Ed Turgeon, Dean of Music Algoma University with his wife Dr. Anne Louise-Turgeon who make up the classical piano duo Duo Turgeon.

Starting with a charming address by the Consul General of Japan, Matsunaga Takeshi, JCCC Director James Heron then spoke about Ron and the entertainment and activities being held during the Sakura month, then Bruce Kuwabara introduced his cousin, Ron Korb.The evening started with the thundering power of Kyowa Daiko taiko drummers. Throughout the show, Ron and his band were joined by solo dance artist Atsuko Abeta, and the dance groups Sakura Kai and Ayame Kai, as well as koto and shamisen player Aiko Fujii all of whom were adorned in beautiful kimonos and were featured in several songs to wonderful affect. There was also a traditional geisha song (last video)

So many colourful dancers and haunting tunes….(photos courtesy of Susan Howling)After the concert, Ron met up with fans to autograph his latest album and pose for pics with friends… Above, Ron with podcaster and music producer Tom Treumuth, and below Lydia Washchuk and Ken Stower pose with Ron’s poster prior to the concert.You can follow Ron on social media linked via his website: www.ronkorb.com

Pick-up your CD copy of Ron’s latest album, Global Canvas, on his website or stream via your favourite streaming platform

Join Women at Play(s) 7 opening in Toronto Mar.28, taking us on comedic & dramatic journeys in seven short plays

Women at Play(s) 7 is a festival of original short one-act plays written, directed and performed by Canadian women-identifying playwrights, directors, and actors. This seventh edition features seven short plays for a dramatic, comedic, unexpected rollercoaster of a show. From Boomers to babies, from China to the Cheakamus, from literature to larceny, these plays take viewers on a journey through the lives of a truly diverse group of characters.
Runs Mar 28-30 and Apr 2-6 at the Alumnae Studio Theatre (70 Berkeley Street) Toronto (upstairs – sorry, no elevator)
Dates: Mar 28-30, Apr 2-9 7pm – Saturday and Sunday Matinees 2:30pm & 7pm
Tickets: Regular: $28 and students/seniors/art workers: $22
https://www.ticketscene.ca/events/50820/  or at the door (cash only)
Reservations: womenatplays2023@gmail.com  To accommodate those with mobility issues, a shortened PWYC version has been added at an accessible venue: the Performing Arts Lodge  – 4 of the 7 plays will be presented. PAL is located at 110 The Esplanade, Toronto on April 10 at 7pm
Email reservations to: womenatplays2023@gmail.comWomen at Play(s) was created in 2005 by Artistic Director Marianne Sawchuk (pictured below) to provide a creative outlet for women playwrights, directors and actors. It was conceived to inspire artistic achievements in theatrical performance for women. WaP is a grassroots artist profit shared organization that showcases women of all diversities, 2SLGBTQIA+ inclusive, from Gen Z to Silver Foxes for an audience of those who want to experience a variety of great theatre.For the seventh Women at Play(s) 7, non-binary actors have also been welcomed into the collective. Women at Play(s) had 3 successful shows in Vancouver where WaP 3 broke the Jericho Arts Centre’s house record on closing night and had, so far, 3 successful shows in Toronto where it has managed to survive the pandemic. In 2023, Marianne Sawchuk was honored with a Playwrights Guild of Canada Tom Hendry “Bra D’Or” nomination for her ongoing support of women playwrights in Canada.

For more info, you can follow Women at Play via social media:
https://www.facebook.com/womenatplays/
https://www.instagram.com/women_at_plays/
https://linktr.ee/womenatplays