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By Robert White , Editor-In-Chief In today’s business world, where speed and agility define the difference between success and stagnation, leaders are looking for new ways to drive results. Tom Savard, PhD , a seasoned product development executive and Six Sigma Master Black Belt, believes the answer lies not in more tools—but in more clarity. With over 25 years of experience leading product development in industries ranging from aerospace to telecommunications, Savard has made it his mission to redefine how organizations unlock hidden value. Now, through his consulting practice and latest book The Clarity Cascade, Savard is helping companies turn chaos into innovation and hesitation into momentum. “In every product development team, there’s a simple truth—what they’re really creating is know-how,” Savard explained. “When you reframe teams as know-how factories, you begin to understand how to optimize them for performance. That’s when value starts multiplying.” Savard’s journey began in the trenches—leading complex development teams and applying Six Sigma principles to refine products and processes. But he soon realized that the conventional approach to Six Sigma was missing something vital: the human element of purpose and understanding. “Traditional Six Sigma can sometimes push teams to over-engineer solutions to problems that don’t matter,” he said. “The key is prioritization—focusing on what really impacts performance and letting go of everything else.” This insight laid the groundwork for The Clarity Cascade, where Savard introduces what he calls the “clarity mindset”—a framework of five practices that help leaders inject purpose, streamline decision-making, and empower teams to operate more effectively, even in uncertain environments. “The clarity mindset starts with one question,” he noted. “Do your people understand what they’re building and why it matters? When they do, performance skyrockets.” One of the most compelling case studies in the book involves a heart valve company facing an existential threat. Competitors had begun offering valves that didn’t require open-heart surgery—a faster, safer innovation. Savard helped the team shift their mindset, reframe fear as manageable risk, and prioritize high-impact work. The result: they hit their aggressive two-year timeline and delivered a breakthrough product. “I didn’t just reward them for hitting the goal,” he said. “I rewarded the practices that got them there—transparency, good engineering, risk management. That approach gets people to step up instead of playing it safe.” Beyond strategy, Savard is a dynamic public speaker who’s addressed major conferences on leadership, innovation, and decision-making. He’s also a dedicated musician, performing saxophone with his wife Lynda in their regional cover band, Necessary Diversion—a fitting name for someone who’s spent a lifetime exploring unconventional paths to progress. Today, Savard continues to expand his influence through The Innovation Doctors, a boutique consulting firm dedicated to helping organizations streamline development and multiply ROI. “If a sports team doesn't know the goal, they’ll never win,” Savard concluded. “Business is the same. When you apply clarity, performance isn’t just possible—it’s exponential.” The Clarity Cascade is available now on Amazon and at theinnovationdoctors.com . Listen to the full interview with Tom Savard on The Savoir Faire Audio Experience.

By Robert White , Editor-In-Chief For Cleveland-born, LA-based artist Zach Paradis , music has always been a mirror—a place where reflection, emotion, and evolution intertwine. From his roots as the youngest of nine in a boisterous, music-filled Ohio household to stages across the country on the “Phases” North American tour, Paradis continues to reveal more of himself through every lyric and loop. His latest single, Hurricane , is no exception. “I wrote this song about finding peace in someone when life feels like a storm around you,” Paradis shared. “Some people have a way of bringing a calm to chaos, like the eye of a hurricane. Even if it's just for a short while, they can make everything okay when they're with you.” Though listeners have interpreted the song as a romantic ode, Paradis is quick to reveal its deeper, bittersweet undertones. “It’s funny,” he said, “people think it's a happy love song, but to me, it’s a thank-you and a goodbye. It was about a relationship that didn’t last, but for a moment, it gave me clarity.” Raised in a home where music of every genre filled the halls—from his father's funk records to his siblings’ jazz and singer-songwriter playlists—Paradis naturally absorbed a broad spectrum of influences. “My mom forced all of us to take piano lessons,” he laughed. “But I fell in love with drums first, then picked up guitar later, and that’s what I use to perform now. I’ve kind of become a jack of all trades, musically.” But Zach’s path to artistry didn’t begin on the stage. It started behind the scenes in Atlanta, where he cut his teeth as an audio engineer. “Helping other artists bring their sound to life made me realize I had something to say, too,” he said. “That’s when I started shifting toward writing and performing my own stuff.” His transition from engineer to solo artist wasn’t just professional—it was personal. Paradis’ music blends genres with ease, drawing from hip-hop’s rhythm, pop’s hooks, and R&B’s soul, all grounded in the intimacy of singer-songwriter storytelling. “It’s like if Ed Sheeran and Dominic Fike had a musical baby,” he joked, “that’s the sound I’m aiming for.” What sets Paradis apart is the emotional authenticity he brings to his work. Writing, for him, is both therapy and revelation. “A lot of the songs are just me trying to work through emotions in real time,” he said. “It’s wild—sometimes I think I’m writing something too specific for anyone else to understand, and then I release it and people go, ‘Wow, I felt that exact same thing.’” His process is as freeform as his sound. “Sometimes I start with a melody, sometimes a phrase or emotion,” he explained. “And yeah, I’ll admit it—AutoTune mumble sessions are part of it too. It helps unlock melodies in a way that’s fun and pressure-free.” This unfiltered approach to creativity is what makes Hurricane  so effective. It’s not just a song—it’s a sentiment, wrapped in shimmering chords and anchored by a simple truth: even fleeting peace can leave a lasting impact. Currently, Paradis is bringing that truth on the road as direct support for Abe Parker on the Phases  tour, crisscrossing the country through May. “Touring has been amazing,” he said. “It’s the final form of the music. Playing live is the ultimate test—just you, the crowd, and the songs, stripped down. I even use a loop pedal to give each song its own unique shape.” For fans, this tour offers more than just a performance. “It’s intimate,” Paradis added. “We meet people in line, hang out after the show, and the acoustic setup gives the songs a different life. Plus, I’m previewing a new unreleased track, so it’s definitely worth coming out.” From studios in Atlanta to stages in NYC, Zach Paradis is proving that self-discovery isn’t a destination—it’s a rhythm. And with every track, every show, and every storm he writes through, he brings listeners a little closer to finding calm in their own chaos. Catch Zach Paradis on tour now and stream Hurricane on all major platforms. For music, merch, and tickets, follow him @zachparadis on Instagram and TikTok. Listen to the full interview with Zach on The Savoir Faire Audio Experience.

By Robert White , Editor-In-Chief New York City’s power pop mainstays Joy Buzzer have returned with a high-octane standalone single that doesn’t just buzz—it blasts. Their latest release, “Simone,” is now streaming everywhere, a heartbreak-fueled anthem wrapped in hook-laden guitars, pounding drums, and razor-sharp songwriting. “It’s a heartbreaking story of isolation and unrequited love—blasted out by drums and wires at 500 mph,” says the band. And that’s exactly what “Simone” delivers: a track that barrels forward with raw energy, yet remains sharply crafted, catchy, and full of feeling. Fronted by songwriter and guitarist Jed Becker—best known to many as the Emmy-winning composer and music director for Dora the Explorer and Go, Diego, Go!—Joy Buzzer formed in 2021 as a new chapter for veteran NYC musicians. The group features Becker’s longtime collaborators Kevin Lydon (vocals) as well as KG Noble (guitar), Nick DeMatteo (bass), and Mark Brotter (drums)—a collective of serious musicians who never take themselves too seriously. “I started writing these songs during the pandemic, when everything else was shut down,” Becker explains. “I wasn’t trying to write for a genre or a band—I was just writing what came out naturally. That turned out to be power pop: big hooks, big feelings, loud guitars.” That creative burst led to Joy Buzzer’s debut LP, Pleased To Meet You, released in October 2024 via Wicked Cool Records. The album, which includes five tracks mixed by two-time Grammy winner Carl Glanville, was an immediate declaration of the band’s mission—crafting joyful, kinetic pop-rock with roots in the best of Fountains of Wayne, XTC, Badfinger, and Squeeze. Their latest track, “Simone,” continues the momentum. The song was inspired by a real-life birthday gig the band played for Simone Zimmerman, a local music scene mainstay and partner of Lower East Side show promoter Steve Krebs. “We were invited to play at her birthday party,” Becker shares. “So I thought, why not write a song for the occasion? It’s not literally about her—but it was definitely sparked by the moment.” From inspiration to execution, “Simone” came together like much of Joy Buzzer’s music: organically and collaboratively. Becker demos the songs, then brings them to the band for fine-tuning. “I sketch out the structure—guitars, bass, harmonies—and the band breathes life into it,” he says. “It becomes something bigger, something better.” Though Joy Buzzer is relatively new on the scene, its members are no strangers to the spotlight. They’ve performed with The Chesterfield Kings, Bobby Mahoney, and others at high-profile events like the Sea.Hear.Now Festival after-party in Asbury Park. Their previous single, “You Don’t Even Know My Name,” was named “Coolest Song in the World” by Little Steven’s Underground Garage, further cementing their status as one of NYC’s most exciting live acts. If you want to experience the buzz for yourself, catch Joy Buzzer live at Bowery Electric on Thursday, June 12. The band will be joined by fellow Wicked Cool Records artists Steve Conte and The Jellybricks, along with Gem Records' Midnight Callers, for a full night of power pop perfection. Whether you’re a longtime fan of the genre or new to the scene, Joy Buzzer’s “Simone” is a masterclass in what makes power pop great—melody, muscle, and a whole lot of heart. Stream the single at orcd.co/joybuzzersimone and follow the band at joybuzzerband.com . Listen to the full interview with Jed Becker and Joy Buzzer on The Savoir Faire Audio Experience

By Robert White , Editor-In-Chief In a digital age where musical precision is often edited to sterile perfection, Johnny Iguana dares to do something refreshingly radical: he hits record, plays the piano, and leaves it all on the keys. His new solo album, Johnny Iguana: At Delmark, is a gritty, elegant, and deeply personal love letter to the Chicago blues, performed on a century-old Steinway B, captured in unedited single takes straight to analog tape. It’s not only a bold follow-up to his acclaimed debut Johnny Iguana’s Chicago Spectacular!—it’s a timeless statement of identity, reverence, and raw artistry. “Go in the live room and kick up some racket, with the tape rolling,” Iguana explains. “And that's exactly how this album was made—in three afternoons.” That sense of immediacy defines At Delmark. It’s a record that breathes, hesitates, surges forward and sometimes stumbles—exactly as real music should. Recorded at the legendary Delmark Records studio, a cornerstone of the Chicago blues for over 70 years, the album adds a new chapter to the label’s storied catalog of solo piano records. Iguana’s playing is technically masterful but emotionally instinctive—honoring his heroes while unmistakably forging his own path. Born in New Jersey and raised on a mix of punk rock, classical training, and a deepening obsession with the Chicago blues, Johnny Iguana (real name: Brian Berkowitz) was pulled into the Windy City in the early ‘90s after a chance audition for Junior Wells. It was a surreal career leap for a young musician still finding his footing, suddenly on tour with one of his greatest musical heroes. “I used to say, ‘You know What shows are? Shows are sold out, That’s what shows are,’” he laughs, recalling the whirlwind years of packed houses and international tours. “It was a pretty wild way to get started.” Since then, Iguana has become one of the blues’ most sought-after pianists, performing and recording with legends like Buddy Guy, Johnny Winter, Mick Jagger, Keith Richards, Derek Trucks, and James Cotton. His 2020 debut, Chicago Spectacular!, brought together a powerhouse ensemble of Chicago blues icons to honor the city's rich piano tradition. But At Delmark is a different kind of record—an introspective, minimalist counterpoint that brings the man and his instrument into unfiltered focus. The tracklist features Iguana’s own compositions alongside his idiosyncratic interpretations of everyone from Jay McShann and Little Brother Montgomery to Neil Young and AC/DC. Yes, AC/DC—because Iguana’s musical vision doesn’t believe in boundaries. “I wanted this album to be personal,” he says. “Not just a tribute to the past, but a reflection of who I am now.” That sense of self has been forged over decades. Iguana has co-led the genre-blurring band The Claudettes for over 10 years, released countless records, and scored the Emmy-winning FX/Hulu series The Bear alongside his longtime partner JQ. His signature piano style—rhythmic, fearless, and improvisational—is rooted in the blues but laced with punk, jazz, and classical elements. “I think a lot about Otis Spann and Jay McShann, and about just telling a story with your hands,” he says. “This album is me, in the room, telling that story.” At Delmark will be released on April 11, 2025, across vinyl, CD, hi-res digital, and all streaming platforms. For audiophiles, a reel-to-reel edition is coming through a partnership with Revox/Analog Arts—a perfect format for music this honest and analog. Fans in Illinois can experience Johnny’s live release shows this spring: April 29 – Hey Nonny, Arlington Heights, IL May 12 – SPACE, Evanston, IL May 16 – Hong Kong Pizza Party, Yorkville, IL As Johnny puts it, “Music isn’t just a recording—it’s a moment. This album captures mine.” For more, visit johnnyiguana.com or follow The Claudettes at theclaudettes.com . :Listen to the full interview with Johnny Iguana on The Savoir Faire Audio Experience.

By Robert White , Editor-In-Chief In a world obsessed with more—more square footage, more stuff, more storage—it’s Marni Jameson who offers a refreshing and much-needed counterpoint: less, but better. One of America’s most beloved home and lifestyle columnists, Jameson has made a name for herself by helping others simplify not just their homes, but their lives. Her newest book, Right-Size Today to Create Your Best Life Tomorrow (HCI, 2024), is a timely, transformative guide for those looking to declutter with purpose and step confidently into the next chapter. “People evolve,” Jameson says. “Where and how we live should evolve with us.” It’s a message she knows firsthand. Her journey into the world of rightsizing began with personal experience: clearing out her childhood home after her elderly parents moved into assisted living. The process was emotional, overwhelming, and ultimately, eye-opening. That experience birthed her bestseller Downsizing the Family Home, and she’s been on a mission ever since—writing seven books (five of which focus on downsizing), speaking across the country, and penning a nationally syndicated column that offers practical, narrative-driven advice with wit and warmth. With Right-Size Today, Jameson shifts the conversation from downsizing (which often feels reactive and rooted in loss) to rightsizing—an empowering, intentional approach that puts the individual’s goals, lifestyle, and well-being front and center. “This isn’t about getting rid of everything,” Jameson explains. “It’s about getting rid of what’s standing between you and the life you want to live next.” In the book, she offers readers a framework for identifying what truly matters and aligning their home environment with their evolving needs. Whether you’re facing an empty nest, thinking about retirement, or blending households after a later-in-life relationship, her advice is as relatable as it is actionable. Jameson’s approach is as practical as it is philosophical. She recommends starting small—tackle a shelf, a drawer, a single closet. “Don’t overwhelm yourself,” she says. “Build momentum. Make it a lifestyle, not a one-and-done project.” Her mantra? Keep the few, cherish the few, and keep it small. “Save the pearls, not the piano.” What makes her work resonate so deeply is her understanding of the emotional weight possessions can carry. Jameson doesn’t minimize the memories, but she does challenge readers to rethink their purpose. “Everything you own should either serve you today or support your future. If not, why are you hanging on to it?” In Downsizing the Blended Home, another standout title, she tackled the delicate dance of merging two households—emotionally, aesthetically, and logistically. With humor and wisdom, she walked readers through the often chaotic process of combining lives, honoring each partner’s history, and creating a new home that reflects their shared future. Now, with Right-Size Today, she’s inviting readers to dream again. To ask where they’d live if they could live anywhere. To imagine how they’d design a home that truly serves their lifestyle—not their past. “Don’t let your stuff hold you back,” she says. “You could be living by the water. You could be in a home that’s easier to care for, more reflective of who you are now.” The book includes practical tools—from comparison charts that help evaluate potential new cities to room-by-room checklists—and real-life stories of people who made the leap and never looked back. Jameson also explores how to buy with intention, offering expert advice on curating a home filled only with what you use, love, and truly need. “Don’t drag your clutter into your new life,” she writes. “Surround yourself with quality, not quantity.” Through all of her work—columns, books, and public talks—Jameson’s voice remains steady, smart, and endlessly human. She speaks from experience, not just expertise. And in doing so, she empowers others to live lighter, freer, and with more joy. “Being nimble is the goal,” she says. “When you’re not weighed down by stuff, you’re ready for anything.” To learn more, visit marnijameson.com , or find her on Instagram, Facebook, and LinkedIn. Her books are available wherever books are sold. Listen to the full interview with Marni Jameson on The Savoir Faire Audio Experience.

By Robert White , Editor-In-Chief In a jazz world steeped in tradition and always on the hunt for fresh expression, Hillai Govreen has carved out a voice that feels both timeless and cutting-edge. With her upcoming album Every Other Now, set for release in June 2025 via Fresh Sound Records, the Israeli-born, New York-based clarinetist, saxophonist, and composer delivers a collection of music that’s rich with imagination, vulnerability, and fearless experimentation. Govreen’s story is one of early musical immersion and unshakable curiosity. She began playing classical piano at age six, later gravitating toward the clarinet—somewhat by accident. “I wanted to play bassoon,” she recalls, laughing, “but they just had a free clarinet teacher in the conservatory.” That serendipitous switch would eventually guide her to jazz, improvisation, and the deeply personal compositional style that defines her latest work. Every Other Now is Govreen’s first full-length record under her own name, a collaborative project with bassist and composer Ben Meigners. Featuring celebrated players like Steve Cardenas (guitar), Eric McPherson (drums), Café Da Silva (percussion), and others, the album captures the urgency and spontaneity of live performance while holding space for introspection and storytelling. “I was thinking a lot about time,” Govreen explains. “How our perception of events changes with distance. That’s what the title means—Every Other Now—how different moments can occupy the same space emotionally, even if they’re years apart.” The compositions span a wide spectrum—from the ethereal textures of “Smoke,” inspired by the 1995 film of the same name, to emotionally charged tributes like “The Day Of” and “The Day After That,” written in memory of friends lost in the October 7 attacks. These pieces, Govreen says, became her form of grieving and reflection. “It was my way of processing what I couldn’t make sense of. Music was the only language I could speak in that moment.” Despite the emotional weight of the material, the album is not without moments of levity and adventurousness. “Something Short,” a mostly improvised track built from just a few written bars, bursts with playful energy. There’s also a reimagined take on the standard “Ill Wind,” flipped into a groove-laden, funk-forward arrangement so inventive it’s barely recognizable—a bold nod to her creative restlessness. For Govreen, the act of composition often starts not with an instrument, but with an idea. “A lot of it begins in my head,” she says. “I don’t usually write with a sax or clarinet in hand. Sometimes it’s just something I hear and have to chase.” She composes largely at the piano, and while her main instruments remain woodwinds, the keys serve as a sketchpad for sonic architecture. What makes Govreen’s voice truly stand out, however, is her approach to the clarinet. Once a dominant instrument in swing-era jazz, it has since become a rarity in modern improvisation. Govreen is helping to change that. “There are definitely fewer clarinetists in jazz,” she says, “but that gives me freedom. I can interpret things differently. I don’t feel boxed in.” Freedom is a recurring theme in Every Other Now, both in the music’s fluidity and in the ensemble’s organic synergy. Rather than dictating every note, Govreen allowed her collaborators to shape the arrangements. “I’d bring a piece in, and they’d bring their voices to it,” she says. “It became a true collaboration.” Though this is her debut under her own name, Govreen is no newcomer. She’s performed at venues like Birdland, Dizzy’s Club, Smalls, Mezzrow, and National Sawdust, and has toured extensively through Europe, India, and the U.S. Her credits include collaborations with heavyweights such as George Cables, Allison Miller, and Anat Cohen. A graduate of The New School for Jazz and Contemporary Music, Govreen studied under jazz greats like Chris Cheek, Reggie Workman, and Billy Harper. With Every Other Now, Govreen firmly plants her flag in the next generation of jazz artistry. The album is deeply intellectual yet soulful, structured yet improvisational, familiar yet completely her own. It’s a testament to the power of personal voice—and a reminder that even without lyrics, music can speak with radical clarity. Hillai Govreen’s Every Other Now drops June 20, 2025. Keep up with her performances and releases at hillaigovreen.com

By Robert White , Editor-In-Chief Art has long been a vessel for healing, but for Franck De Las Mercedes , the transformation from devastation to creative rebirth is more than symbolic—it’s literal. His latest body of work, Contil, named after the Nicaraguan word for soot, is a powerful testament to what remains after destruction, and how those remains can be transformed into beauty. On February 18, 2014, a massive five-alarm fire tore through De Las Mercedes’ home and studio. In a matter of hours, years of work—paintings, journals, studies, sketches—were reduced to ash. “I walked out with just the clothes on my back,” he recalls. “Everything was gone.” But memory, like soot, lingers. A decade later, the artist found himself revisiting a digital archive of what had been preserved: scans, photographs, journal fragments, and street photography dating back to the early 2000s. Rather than grieve the loss once more, he began to experiment—layering, painting, and digitally reworking the remnants into something entirely new. Contil was born from this process: a hybrid of photography, digital collage, abstract painting, and written language that tells both personal and collective stories. “Soot is this black, greasy residue you can never fully clean,” De Las Mercedes explains. “I saw it as a metaphor for memory, for the work that remained with me even after it was physically gone. It was still there—needing to be resolved.” The Contil series is an emotional and deeply textured collection, exploring themes of loss, identity, resilience, and reinvention. Each piece is a layered experience—visually complex, intimate, and abstract yet unmistakably human. “People connect with the figures, even if they don’t know who they are,” says the artist. “The series has evoked something very personal in others, which tells me it’s doing what art should do—it’s making people feel.” Born in Masaya, Nicaragua, and raised in New York City after immigrating during the civil conflict of the 1980s, De Las Mercedes brings a unique blend of cultural influences to his work. From ancient Nicaraguan petroglyphs to the electric graffiti of New York’s streets, his visual language is both global and personal. Abstract expressionism, street photography, and digital art all coexist in a vibrant conversation. While Contil marks a new chapter in De Las Mercedes’ practice, it’s also a culmination. “This series brings everything together—my past, my heritage, my love of textures, language, and experimentation,” he says. “It’s a kind of rebirth. A phoenix rising from the ashes—but digitally rendered and painted in layers.” Currently working from a studio in New York’s East Village, provided by Art on the Ave NYC, De Las Mercedes invites visitors to experience the evolution of Contil firsthand. The space doubles as a gallery and creative lab, where the public can see works in progress and even participate in immersive installations like a collaborative coloring room. Beyond technique and trauma, Contil is a story about artistic perseverance. “You don’t wait for inspiration,” he explains. “Inspiration is fleeting. Discipline—that’s what carries you through. That’s what allowed me to turn loss into something meaningful.” Franck De Las Mercedes’ Contil is more than a return to form—it’s a redefinition of it. It’s proof that even in the aftermath of ruin, beauty can rise, transformed by fire, memory, and the indelible will to create. Visit fdlmstudio.com or follow @FDLMstudio on Instagram to explore Contil and schedule a studio visit. Listen to the full interview with Franck De Las Mercedes on The Savoir Faire Audio Experience.

By Robert White , Editor-In-Chief David Rothenberg is not just a witness to history—he's often been the one helping to shape it. From Broadway stages to prison reform, from civil rights activism to city politics, his life reads like a screenplay. And now, with the release of his new book Manhattan Mayhem , Rothenberg offers readers a poignant collection of stories that capture the city’s pulse with wisdom, wit, and the unmistakable beat of a New Yorker who has truly seen it all. Released on April 2, Manhattan Mayhem is a gripping mosaic of 18 tales that mix memoir with fable, memory with reflection. “I had stories kicking around in my head for years,” Rothenberg says. “The pandemic finally gave me the time and space to write them down.” What began as a personal exercise quickly found an audience. “I started reading them on my radio show during lockdown,” he recalls. “People kept reaching out, asking how they could buy the stories. So, I thought, maybe I should publish them after all.” Though some of the stories are fictionalized, the truths they hold are deeply human. “Some are about my childhood in New Jersey, others are inspired by people I’ve met—many through the Fortune Society,” Rothenberg says, referencing the transformative nonprofit he founded in 1967. That organization now employs over 600 people and offers life-changing support for individuals returning to society after incarceration. One of the most compelling entries in the book is The Uninvited, which draws on the real-life experiences of a family who lived under the veil of the federal witness protection program. “It’s such an isolated and unknown existence,” Rothenberg explains. “You grow up trained not to speak, not to trust. It stays with you.” But not every story in Manhattan Mayhem is dark or dramatic. There’s humor, romance, heartbreak, and plenty of big city charm. “There’s a story called The Jew Story—it’s about a Jewish man and a Black woman in love, but unable to marry due to social and family pressures. It’s Romeo and Juliet in Manhattan.” Despite being 91, Rothenberg remains tirelessly engaged. He still volunteers weekly with the Fortune Society and hosts a longstanding radio program on WBAI in New York. “When I sit in on acting classes at Fortune, seeing these men and women—many who’ve spent years behind bars—express themselves through art, it’s powerful,” he says. “We’re not training them to be actors. We’re helping them find their voice.” That same ethos—that belief in the redemptive power of storytelling—echoes throughout Manhattan Mayhem. It’s a love letter to the city and the people who inhabit it, written with the clarity of someone who has spent a lifetime listening. For Rothenberg, the theater remains a sacred space. “Theater can be a mirror or a catalyst for change,” he says, referencing The Castle, a play he directed and produced featuring formerly incarcerated individuals that ran off-Broadway for over a year. “It’s storytelling with purpose.” And that’s exactly what Manhattan Mayhem delivers. It’s not just a collection of short stories—it’s an invitation into Rothenberg’s world, one filled with grit, grace, and an unwavering belief in second chances. David Rothenberg’s Manhattan Mayhem is available now on Amazon. To learn more about the Fortune Society and how to support their work, visit fortunesociety.org. Listen to the full interview with David Rothenberg on The Savoir Faire Audio Experience.

By Robert White , Editor-In-Chief Christian Dryden and The Ritualists are back with a bold new statement in their latest single “The Wake,” a soaring, synth-heavy track that channels the mystique of 1980s dark fantasy cinema with a glam rock edge. Inspired by films like The Never Ending Story, Labyrinth, and The Secret of NIMH, the track feels like a cinematic journey—moody, melodic, and undeniably magnetic. “The Wake” is the first taste of their upcoming album Too Pure to Cure, dropping April 22 via Suite484Music. The record is produced by GRAMMY-winner Mario McNulty (David Bowie, Nine Inch Nails), and it’s packed with the band’s signature fusion of goth, glam, and modern rock. “This one almost didn’t make it on the record,” Dryden admits. “But I insisted. I came out of the shower singing the chorus, and I just knew it was something special.” What sets “The Wake” apart is not just its sound—pulsing synths, galloping beats, and shimmering melodies—but also its visual storytelling. The music video, directed by Hypno Doll, takes viewers through an eccentric dreamworld using Brooklyn as its stage. “We shot some of it in a backyard that was transformed by artists into this whimsical, magical space,” Dryden says. “It’s gritty and fantastical at the same time. Everyone embodies their spirit animals, and I play the outsider who eventually joins in. It’s about awakening.” The album’s title, Too Pure to Cure, reflects the band’s ongoing fascination with transformation and duality. It follows their critically adored records Painted People and Baroque & Bleeding, the latter of which saw praise from legends like Simon Le Bon of Duran Duran. The Ritualists continue to lean into their roots—drawing on glam, art rock, and romantic psychedelia—while pushing boundaries with every release. The band itself is a tightly knit creative unit. Dryden handles vocals and bass, joined by keyboardist Jeffrey Andrew, guitarist David Andreana, and drummer Eric Hubie. “Jeff is like Nick Rhodes meets Keith Emerson,” Dryden explains. “He brings that synth wizardry but with a classical foundation. David has this Jeff Beck thing going on—minimal effects, maximal soul. And Eric, our newest member, plays to a click live, which allows us to incorporate complex synth layers without losing the raw energy of a live performance.” Their second single from the upcoming album, “You Know Better,” is a slick, bass-driven anthem with a dark disco flair. “That track was about pushing the envelope,” says Dryden. “It’s about the arrogance of thinking you’ve got it all figured out, especially in the information age. Everyone’s an expert now. But really, the people who’ve put in the time and studied the craft—those are the voices we should be listening to.” While their music echoes with the glam ghosts of Bowie and the theatricality of classic rock, The Ritualists are firmly a band of today. Dryden, who formed the group in the Lower East Side of New York, is acutely aware of how the industry has shifted. “Even in the short time since our debut, the landscape’s changed,” he says. “It used to be about magazines and radio. Now, it’s all podcasts, playlists, and TikTok.” Still, Dryden isn’t chasing trends. “We’re not anti-commercial. We just don’t write with that intention. We’re trying to make art that moves people.” The band will support the release of Too Pure to Cure with a run of live shows, including a not-to-be-missed performance on June 7 in Brooklyn as part of their Glamour Puss series—a multimedia art and music event curated by Dryden himself. If you’re looking for rock that’s theatrical, poetic, and pulsing with life, The Ritualists are more than ready to show you the way. “Music should make you feel like you’re part of something bigger,” Dryden says. “It should awaken something in you.” With “The Wake,” they just might. Listen to the full interview with Christian Dryden from The Ritualists on The Savoir Faire Audio Experience.

By Robert White , Editor-In-Chief In a world where customer engagement is often reduced to algorithms and automation, Morana Bakula is rewriting the script. As President & CEO of Bond Brand Loyalty, a global customer engagement powerhouse, Bakula brings both empathy and strategy to a role that demands vision, innovation, and heart. Her journey—from war-torn Croatia to the top ranks of one of the most respected firms in loyalty marketing—is not only remarkable, it's deeply instructive. “Life has always been full of change, and in many cases, challenges,” Bakula shared. “I think those early experiences, especially coming to Canada as a first-generation immigrant, have really fortified me. They've made me incredibly comfortable navigating uncertainty—and that resilience has carried me through my entire career.” Her professional story began in a perhaps unexpected place: with a degree in philosophy. But it’s that foundation in critical thinking and perspective that Bakula credits with giving her the tools to tackle some of the most pressing challenges in marketing today. “The problems we face aren’t necessarily new,” she said. “What’s new is the lens we bring to them.” Bond’s success under Bakula’s leadership is rooted in a uniquely human approach to customer engagement. It’s not about blasting out generic ads or tracking clicks; it’s about building a real emotional connection between brands and consumers. “We don’t just look at personas—we look at people,” she explained. “What motivates them, what their fears are, what truly drives behavior.” That depth of insight is what sets Bond apart in an industry saturated with buzzwords. The company takes a rigorous, data-informed approach to understanding consumer behavior—but stops short of letting the numbers tell the whole story. “Data alone doesn’t create loyalty,” Bakula said. “It’s when you combine that data with emotional intelligence and human-centered design that you really start to see results.” Bond’s clients range across industries, but they all share a common goal: to connect meaningfully with their customers. Whether it’s an RV company selling freedom and lifestyle over horsepower, or a consumer goods brand using emotional triggers to elevate product appeal, Bond ensures every touchpoint feels personal. “We focus on what we call the last mile,” Bakula said. “That final, human moment that often gets overlooked—but it’s where trust is built.” Of course, in the modern marketing world, no conversation is complete without AI. Bakula is bullish on its potential—not as a replacement for human creativity, but as a catalyst for deeper personalization. “AI allows us to do the work faster and more efficiently,” she said. “But the context, the imagination—that still belongs to people.” Internally, Bond uses AI to streamline processes, freeing up teams to focus on higher-value tasks. Externally, it’s a key player in the company’s ambition to deliver one-to-one marketing at scale. “Imagine a brand knowing not just that I’m a 40-something mom,” she said, “but that I’m also a CEO and a traveler, and using that insight to create truly bespoke experiences. That’s where we’re heading.” Her approach to leadership is just as layered. A working mother of twins and a fierce advocate for mental health, Bakula brings an authenticity that resonates throughout Bond’s culture. “I believe in candid leadership,” she said. “When people feel seen and valued, they rise.” As Bond continues to evolve, Bakula’s presence at the helm promises more than just strategic growth—it signals a future where brands move beyond transactions and into real relationships. “We’re here to create bonds,” she said. “Not just between businesses and their customers, but between purpose and impact.” For anyone watching the intersection of leadership, technology, and emotional intelligence, Morana Bakula isn’t just a case study—she’s setting the standard.

By Robert White , Editor-In-Chief Brad Kearns spent nearly a decade as a professional triathlete, pushing the limits of physical endurance and reaching as high as #3 in the world rankings. But today, the man once defined by his speed is advocating something radically slower: walking. Yes, walking. In his new book, Born to Walk: My Evolutionary Path to Health, Energy, and Slower Aging , co-authored with longtime collaborator and primal health pioneer Mark Sisson, Kearns presents a compelling case for stepping off the treadmill of chronic cardio and into a lifestyle rooted in gentle, sustained movement. “For the vast majority of people, endurance running is not healthy,” Kearns told Savoir Faire . “It’s too hard on the body. The stress, the hormonal imbalance, the fatigue—it can end up doing more harm than good.” That message might surprise readers familiar with Kearns’ elite athletic background. But it’s that same background—marked by extreme training, professional wins, and eventual burnout—that inspired the shift in perspective. After retiring from competition, Kearns spent years exploring primal health, ancestral living, and metabolic science. What he discovered upended much of what we assume about fitness. “Walking is the most natural, primal movement we have,” he said. “It’s not just exercise—it’s how the human body is meant to function. And the benefits are staggering: fat burning, better brain function, lower cortisol, even slower aging.” In Born to Walk , Kearns and Sisson dismantle long-held myths—like the 10,000 steps rule, which they reveal began as a 1960s Japanese pedometer marketing gimmick. The truth? “You don’t need 10,000 steps a day to get health benefits,” Kearns noted. “Even a few thousand done consistently, especially in sunlight and with good posture, can have huge payoffs.” The book arrives as more people—especially high-performing athletes—are rethinking their relationship with exercise. Burnout, hormonal crashes, chronic injuries, and fatigue are pushing even the fittest to search for a more sustainable path. Kearns’ prescription is simple: Walk more, run less, move often. “Most people don’t realize that running, especially at high intensities, can actually prompt the body to store fat,” Kearns explained. “The stress signals are so intense, your metabolism slows, your appetite skyrockets, and you end up tired, inflamed, and reaching for sugar.” Instead, Kearns suggests walking as a cornerstone of daily life, particularly in minimalist or barefoot-inspired footwear like the Peluva line he and Sisson recently co-launched. “Shoes matter,” he said. “We’ve trained our feet into dysfunction. Going back to natural movement starts from the ground up.” This isn’t just a casual wellness trend. Kearns points to evolutionary biology and exercise science to back it up. “Our ancestors didn’t run marathons,” he said. “They walked—constantly. Movement was part of every hour of the day. That’s what we’ve lost in modern life. Now we sit at desks and expect a 60-minute HIIT class to undo it all. It doesn’t work that way.” As with his earlier bestselling book Two Meals a Day, which questioned the norms of frequent eating and advocated for metabolic flexibility, Kearns is once again challenging conventional wisdom—with enthusiasm and evidence to match. “This isn’t about being lazy,” he said. “It’s about being smart. Walking is the gateway to better health, better energy, better aging.” And for Kearns, it’s personal. “I’ve run my body into the ground before,” he admitted. “Now I walk every day. I lift. I sprint once in a while. But walking is my baseline. It’s made me fitter, leaner, and sharper than I was in my racing days. And I’m enjoying life a lot more.” In a world obsessed with fast results and harder workouts, Brad Kearns’ message is refreshingly simple—and possibly revolutionary: Slow down, step outside, and just walk. For more, visit borntowalkbook.com  and follow Brad on Instagram @bradkearns1.

By Robert White , Editor-In-Chief When a parent loses a child, the world stops. When that loss comes by suicide, the silence can be deafening. In her deeply personal new book, Suicide A Mother’s Journey Through Her Child’s Pain , Melanie Balestra breaks that silence—and in doing so, she offers comfort, guidance, and a vital message for every parent. Balestra, a pediatric nurse practitioner for over 45 years and an attorney for 23, brings a unique lens to this heartbreaking subject. But her credentials aren’t what give the book its weight. What sets this work apart is her vulnerability. The story centers around her daughter, Leah, who battled invisible emotional struggles for most of her short life. “I thought I’d be the perfect mother,” Balestra shared. “I knew pediatrics. But I didn’t know mental illness.” From the moment Leah was a toddler, Balestra sensed something was off—insomnia, intense shyness, a pervasive sadness. She sought help from professionals, but was repeatedly told it was “normal” and that Leah would grow out of it. She never did. After Leah’s tragic suicide, Balestra discovered her daughter’s journals—raw, revealing entries that painted a picture of deep suffering, masked by a cheerful façade. “She never let her real self come out,” Balestra explained. “Writing the book became a cathartic experience for me. It helped me understand what she was going through. And I knew other parents needed to see these signs too.” The book is both a memoir and a manual. It includes actual excerpts from Leah’s diaries alongside clinical insights Balestra has gained through her long medical career. The result is an emotional, highly practical resource for parents, educators, and anyone struggling to understand mental health in young people. Suicide is now the second leading cause of death among individuals aged 15 to 24 in the United States. And yet, many parents remain unequipped to identify warning signs or navigate the maze of mental healthcare options. Balestra’s mission is to change that. “There are so many signs,” she said. “Mood swings, isolation, declining grades, irritability, sleep issues, or even overachieving behavior—sometimes kids hide behind a perfect exterior. Leah was very smart and knew exactly what her therapists wanted to hear. But inside, she was falling apart.” One of the book’s most powerful elements is its guidance for grieving parents. Rather than focus solely on the loss, Balestra and her surviving daughter, Lisa, have chosen to celebrate Leah’s life. “We talk about her all the time. We remember the good things. We still feel her with us,” she said. “Grief doesn’t have to be the end. It can become a purpose.” That purpose now includes advocacy. Balestra is on the board of the San Diego Center for Children, where she supports programs that go far beyond medication—incorporating art, music, equine therapy, and family counseling. “We have to broaden how we treat mental illness,” she said. “It’s not just about pills. It’s about connection, conversation, and compassion.” The book also emphasizes that parents should never dismiss their instincts. “If you feel something is wrong, push for answers. Be relentless,” she advised. “Don’t settle for being told it’s just a phase. It might not be.” Perhaps most poignant is Balestra’s message to parents who feel helpless. “Just listen,” she said. “Not to respond, not to fix—but to truly hear. Validate your child’s feelings. Let them know it’s okay to not be okay. And remind them they’re not alone.” Suicide A Mother’s Journey Through Her Child’s Pain  is now available on Amazon. It’s more than a memoir—it’s a lifeline for families in crisis and a courageous call to pay closer attention. Because sometimes, the most important thing we can do for someone we love is simply not look away.