What is your business called and what does it do?

Our business is called Arcadia Academy of Music. We are a franchised music school with 9 locations across the Greater Toronto Area, with more locations currently in development.

We offer high-quality music education through private lessons, supported by our own curriculum, partner curriculums, competitions, festivals, and performance opportunities. Our goal is to provide a well-rounded musical experience that supports each student’s individual goals, whether they are learning for fun or working toward a professional path.

We also offer a variety of programs designed for different ages, skill levels, and musical interests, so that each student can have a personalized and meaningful learning experience.

What made you want to do this work?

Arcadia Academy of Music was founded in 1984 by my father, Carmine Di Rauso Sr., with a passion for making music education more accessible, structured, and inspiring for students of all ages.

From the beginning, he wanted to create a place where students could receive not only high-quality music instruction, but also a sense of community and opportunity.

What problem did you want to solve with the business?

Over time, we saw a need for a more consistent and supportive approach to music education, one that combines strong curriculum design with real performance experiences, such as concerts, competitions, and festivals.

The goal has always been to bridge the gap between private lessons and real-world musical experience, while creating an environment where students feel encouraged, motivated, and part of something larger than themselves.

Who are your clientele/demographics?

Our students range from young children through to adults.

How does your business make money? How does it work?

Arcadia operates on a lesson-based model, where revenue is generated primarily through tuition for private music lessons. Each franchise owner operates an individual school under the Arcadia Academy of Music brand, following our established curriculum and operational systems to ensure consistency, quality, and a unified student experience across all locations.

This structure allows us to maintain high educational standards while giving each location the flexibility to serve its local community effectively.

Where in the city can we find your profession?

We currently have 9 locations across the GTA, including Woodbridge, Maple, Richmond Hill, Markham, Newmarket, Brampton North, Brampton West, Burlington, and Nobleton. Additional locations are opening soon in Milton, Mississauga, Bradford, Oakville, and Hamilton.

What is the best question a prospective customer could ask a member of your profession when comparing services? Give the answer as well.

Question: Why choose Arcadia?

Answer: Arcadia offers more than just music lessons, we provide a full musical community. Our students benefit from a structured, high-quality curriculum delivered consistently across all locations, supported by experienced and passionate instructors.
We are deeply committed to helping students reach their individual goals, build confidence, and develop a lifelong connection to music. It is this combination of strong education, supportive mentorship, and consistent instruction that creates a meaningful learning experience for every student.

At Arcadia, students are part of an encouraging environment where they are guided, supported, and inspired throughout their musical journey. It is this blend of education, opportunity, and community that truly sets Arcadia apart.

What is the best part about what you do? What is the worst part?

The best part of what we do is watching students grow, seeing their confidence build as their skills develop and they begin to express themselves through music in their own unique way. It is incredibly rewarding to be part of each student’s musical journey.

One of the ongoing challenges is that every student learns at a different pace, which requires a thoughtful and individualized approach. However, this is also what makes the work meaningful, as it allows us to tailor support and ensure each student feels encouraged, included, and set up for success along the way.

What is your favourite joke about your own profession?

Easy… people think I spend my days listening to beautiful piano music and relaxing.

In reality, I’m answering emails, solving problems, researching, marketing, handling invoices, developing new locations, and somehow still trying to remember what day it is.

Where can we follow you?

Instagram | Website

PAY IT FORWARD: What is another local business that you love?

We love Chef Cos Catering! They have worked with us on a number of competitions and events, and it has always been a positive experience.
They are reliable, professional, and consistently provide excellent service and quality food for our events.

The post Homegrown Business: Maurizio Di Rauso of Arcadia Music Group appeared first on Toronto Guardian.

What is your business called and what does it do?

The business is Grey Willow Gifts, a female-founded Canadian gifting company known for its elevated gift boxes that showcase more than 200 Canadian brands while making gifting feel personal, purposeful and memorable.

What made you want to do this work?

The idea for Grey Willow Gifts began in 2020 when I created gift baskets for a charity fundraiser at my office. Colleagues loved them and suggested I start selling them, with several asking if I could create gifts for them personally. Their encouragement sparked what would eventually grow into Grey Willow Gifts.

What problem did you want to solve with the business?

I founded Grey Willow Gifts with a simple goal: to make gifting more thoughtful and impactful. As gifting became increasingly standardized (read: boring) and filled with mass-produced products, I saw an opportunity to spotlight the incredible Canadian brands and artisans creating exceptional goods. Grey Willow Gifts connects those brands with consumers looking for gifts that feel personal, intentional, and meaningful.

Who are your clientele/demographics?

Grey Willow Gifts serves both consumers and corporate clients. One of the things I love most about Grey Willow Gifts is the variety. In the same day, I might be coordinating a large-scale employee appreciation program for a major corporate client and curating personalized gift boxes for a bridal party, baby shower, or milestone celebration.

How does your business make money? How does it work?

We create gift boxes serving both corporate and consumer clients. We take care of the entire gifting process—from curating products and designing the presentation to packaging and shipping the final gift. Whether a client wants us to curate something on their behalf or build a completely custom gift box, we create gifting experiences that feel thoughtful and intentional. We also offer recipient-selected gift programs, giving recipients the freedom to choose the products they genuinely want from a curated selection.

Where in the city can we find your profession?

Grey Willow Gifts is based in Mississauga but ships Canada-wide.

What is the best question a prospective customer could ask a member of your profession when comparing services? Give the answer as well.

Question: What sets your gifting company apart from the others?

Answer: Look for a corporate gifting company that acts as a strategic partner, not simply a supplier. The right company should take the time to understand your brand, your recipients, and the purpose behind the gift before making recommendations. At Grey Willow Gifts, we believe every gift should strengthen relationships while reflecting both your brand and your values. That’s why we take a thoughtful approach to curating gifts that feel intentional and leave a lasting impression. Creating a positive impact is equally important to us, which is why we proudly source products from more than 200 Canadian small businesses and plant a tree for every gift purchased.

What is the best part about what you do? What is the worst part?

Best Part: The best part is knowing that our gifts become part of some of life’s most meaningful moments. Whether it’s celebrating a milestone, welcoming a new employee, thanking a valued client, or offering comfort during a difficult time, it’s an honour knowing something we’ve created is part of that memory. I also love seeing the ripple effect that follows. We regularly hear from recipients who loved receiving one of our gifts so much that they end up becoming a client of ours as well! To me, that’s one of the greatest compliments because it shows the experience left a lasting impression.

Worst Part: The hardest part is that there are never enough hours in the day! Running a business means wearing a lot of hats, from creative direction and client calls to logistics and shipping. One day I’m curating luxury gifts, and the next I’m wrapping pallets for freight shipments. It’s not always glamorous, but it’s all part of building something you’re proud of.

What is your favourite joke about your own profession?

People think I spend my days just tasting chocolate and tying ribbons! While that is part of it, I spend just as much time coordinating freight shipments, responding to client emails, and carrying boxes around the warehouse.

Where can we follow you?

Instagram

PAY IT FORWARD: What is another local business that you love?

One local business I absolutely love is Revival Med Spa. As a small business owner, it’s easy to put everyone else’s needs ahead of your own, so I think it’s incredibly important to prioritize your own wellness, too. What I appreciate most about this spa is that they genuinely care about your results. They take the time to check in, celebrate your progress, and make you feel supported long after your appointment. That level of care is something I really admire and strive to bring into my own business as well.

The post Homegrown Business: Victoria-Rose Bozzelli of Grey Willow Gifts appeared first on Toronto Guardian.

The festival is at Fisher’s Paradise, a site sitting roughly between Sudbury and North Bay, and it lives up to its name. There are three stages, with the main sitting beside a reflective river, a sandy beach stage, as well as an ethereal setting in the trees.

For the 2026 edition, I arrived on Thursday to what felt like a slow start, though that was somewhat due to personal taste. I’m not that into Country music, and Thursday seemed to be all about that twangy genre. I did think Wyatt C. Louis was a solid addition, however, producing warm and mellow music that was fitting for a secluded place waiting to burst into life.

On Friday, the day started on the beach with BBQ Pope, an indie punk band in the Blur/Oasis mould. There were slick bass grooves underpinned by guitar, as well as some spacey guitar tones. The songs were solid, if not the most original, though the band did a great job of raising the energy with a catchy set which built to a crescendo, accompanied by the frontman wading into the crowd. Canadian crowds aren’t always the easiest to penetrate, but they did a great job of getting people on their feet so early in the day.

After that, I caught the beginning of Aniqua Dear’s set, which had an ominous beauty to it. Dear’s huge voice contrasts with her stature; using effects, it sounded like there were three of her, accompanied by guitar and drums. These first two performances set the tone of what the festival is about, with uptempo and introspective music sitting side by side.

On the main stage, there was Strange Happenings, a collection of old rockers with undeniable quality. The drum rhythms kept you guessing, with the sound oscillating between classic guitar tones and grungy psychedelic sequences. I felt like I’d barely taken in the full range of sound and would happily experience it all again.

After that was doom metal band Witchrot, who opened really strong, with a progressive guitar introduction to boomy singer Lea Alyssandra Reto joining the mix. Throughout the set my attention gradually waned, however, as the sludgy tracks rolled on and on. At its best, the band has an element of progression involved, but sometimes simple riffs are asked to do too much heavy lifting to carry a song from start to finish.

Headlining was Bad Waitress, a Toronto-based punk rock band with slamming guitar riffs and a real sense of fun to get the crowd moving. I’ve not seen the band for years, but I recognized some old bangers mixed in with newer tracks, which were just as good if not better. Some songs started heavy while others took their time to build, and there’s an element of chaos in the songwriting process that adds some welcome unpredictability. The chemistry is on full display too, with a joyously childish camaraderie between Kali-Ann Butala (lead vocals, guitar), Katelyn Molgard (guitar), as well as Moon Palmar (drums) passionately mouthing the lyrics from behind, and Nicole Cain (bass) underpinning the tracks with self-assured playing. The crowd was never bored, and in my book they’d be a worthy addition to any rock festival. The only downside was on the tech side, as at times Butala’s vocals felt like they were overpowering the two guitars from where I was standing.

Performing in the iconic ‘threshold stage’ was Blue Light, and the winged-adorned forest was the perfect backdrop for their dreamy set, with Amii Spears’ trancelike high-pitched vocals towering over dreamy reverb-laden synth. For this set, she partnered with electronic music producer Bryan Sutherland, who generally performs as Zoom Owl, who added some crunchy post-production effects into the mix. The gig then ended with an uptempo number with the electronic element taking centre stage. The audience gradually stirred at this punchy ending, standing up and eventually dancing, while kids who had been invited to stay up before their usual bedtime also joined in. This was one to remember for all involved.

Closing off the beach stage was OLGA, a darkwave band generally known for their demonic and provocative sets. The show featured real and electronic drums, heavy guitar overlaying keyboard sequences, as well as energetic lead vocals. Having seen them a few times, it feels like they’ve really progressed. Julia Robin’s vocals were forceful, sometimes going into all-out screaming, but it never felt overdone. Nic Waterman brings a darkly forceful production that underpins the songs in the form of sequences and guitar. Joseph Bradley on drums was particularly masterful, sitting alongside some of the electronic sequences to the point where it looked easy, even though it isn’t. Mixing organic and electronic drum pads also really worked well in defining the darkly electronic industrial sound. This was by far their most accessible and tightest performance I’ve seen, so OLGA is surely a band to watch going forward.

Sunsetter started the Saturday in style on the beach stage, bringing a mix of positive shoegaze-inspired music with liberal amounts of reverb but with a grungy edge. There’s an element of desperation in Andrew McLeod’s vocals, with him singing in gravelly tones about trying to be grateful when we all know that’s not always easy. This was an opening act with intensity, and I look forward to McLeod’s future offerings.

Up next on the beach stage was Hélène Barbier, whose blend of simplistic indie pop felt like a solid accompaniment to a swim in the river, which is refreshing if you can handle the cold. Then Knitting kept up a similarly mellow energy on the main stage, which was followed by indie band Housewife, which featured tracks exploring themes of motherhood.

Atsuko Chiba was Saturday’s standout act, however. The Montreal-based band started with a bang, with an uptempo number getting the audience on their feet almost immediately. The five piece band then brought some melodic numbers, often culminating with two squealing guitars in tandem, supported by a synthesizer, while there was a sense of chemistry as the band faced each other to stay in sync throughout the hypnotic tracks. Every track was different and expressive, while the vocalist Karim Lakhdar helped bring a great variety, depending on what the track needed. Sometimes his singing was melodic and at other times punchy, at some points prancing to the front of the stage to deliver lyrics like Zack de la Rocha. This was a self-assured and exciting set from a band that deserves more recognition.

The Dears took the Saturday headline spot, but I soon wished they hadn’t. While the music was serviceable in a dark indie pop way, the lyrics and vocals soon had me running for the festival hills. The crowning example was in the track Lost in the Plot, which featured the repeated lyrics “Our love, don’t mess with our love. Our love is so much stronger” – at times the lyrics felt like placeholders which the band never properly developed. Later in the set, vocalist Murray Lightburn also broke into an Elvis impression, in what was another unintentionally comedic moment. I won’t beat around the bush, this really wasn’t for me.

The threshold stage had time to host a second spine-tingling act in Bilal Nasser, the innovative classical guitarist and composer. The Palestinian-Canadian created a dreamy, atmospheric soundscape with the help of pedals and effects loops, building up the tracks gradually with beautifully constructed acoustic soundscapes, all the while speaking out against the atrocities against his people. While much of the sound was crafted live, Nasser also utilized tape loops to integrate violin, creating an evocative and melancholic sound to send a shiver down your spine.

This being my third River & Sky festival, I’d argue it surpassed last year’s edition in terms of the performances, though 2024 was also a strong year. When speaking to the festivalgoers, it strikes you how many are incredibly loyal to this event. Many show up year after year to experience music surrounded by nature, escaping the grind of day-to-day life to warm themselves by the increasingly ambitious beach campfire every night. When you add the workshops into the mix – as I enjoyed Alexia Cousineau’s ‘Poetry Circle ’-there’s plenty to keep you coming back year after year.

The post River & Sky 2026 – Music Roundup appeared first on Toronto Guardian.

Describe your charity/non-profit/volunteer work in a few sentences.

I work with Na-Me-Res, a not-for-profit multi-service Indigenous-led organization based in Toronto that is dedicated to serving Indigenous men experiencing homelessness through streets to homes outreach, shelter services, skills training, cultural reconnection and providing affordable housing.

We also operate the Auduzhe Mino Nesewinong Health Clinic that provides primary care services to the Indigenous community across Toronto.

What problem does it aim to solve?

Indigenous people disproportionately experience homelessness in Toronto and across Ontario, and it is critical that this community receives Indigenous-run support that incorporates cultural reconnection into programs, as we do at Na-Me-Res.

Na-Me-Res started out in 1985 as a shelter organization, but the cure for homelessness is affordable housing, so we’ve had to take matters into our own hands – we currently operate 5 affordable housing developments in Toronto, providing 79 deeply affordable units for our clients, Indigenous men who have experienced homelessness. And we are working to build more.

At Na-Me-Res, we believe that success comes from providing a continuum of care – from getting people off the streets, providing healing/life skill/cultural programs, helping provide/secure affordable housing, and providing follow-up supports and job opportunities.

When did you start/join it?

I first started working at Na-Me-Res in 2008 as a shelter Manager and became the executive director in 2011.

What made you want to get involved?

I have always wanted to help homeless Indigenous people. I believe it is a true Canadian tragedy that the First Peoples of this land are experiencing an overrepresentation of homelessness. Before the first settlers came to Canada, there was no Indigenous homelessness. In a Country as wealthy as Canada, Indigenous peoples should not be homeless at all.

What was the situation like when you started?

When I first started at Na-Me-Res, Housing First was a big deal, where if someone was outdoor homeless, you offered them housing first before any other service. Then, once housed, all the other required supports are wrapped around the individual. The Housing First worked very well when there were more affordable housing units available.

How has it changed since?

As the value of real estate increased, it didn’t take too long for the price of rental units to increase as well. The average market rent in any given community is often unaffordable for people who live on social assistance or ODSP. Additionally, with inflation, the cost of groceries has also gone up and is continuing to grow more expensive. Far too many people are having to decide whether to put food on their tables or pay rent.

What more needs to be done?

Affordable housing is the cure for homelessness, so creating more should be the main focus.

How can our readers help?

Some of the ways to help are showing support for new affordable housing or new shelters in their neighbourhoods, saying yes I want this service in my backyard. Maybe doing a coat or clothing drive for a local shelter when the weather starts to get cold.

Where can we follow you?

Website | Instagram | Facebook

PAY IT FORWARD: What is an awesome local charity that you love?

The Native Woman Resource Centre; they are about to open a new shelter for Indigenous women who are experiencing homelessness and do a lot of heartfelt work for Indigenous women.

The post Charitable Choices: Steve Teekens of Na-Me-Res appeared first on Toronto Guardian.

This year’s Osheaga – its nineteenth edition, albeit marking a COVID-splintered twentieth anniversary – was yet another fête de grandes proportions, mixing the up-and-coming with more familiar faces from decades past. Just barely outracing a stormy weekend which threatened downpour any minute (only Sunday’s festivities were briefly interrupted by rain), we came away energized – and with a whole new list of songs for our next roadtrip.

Things got off to a great start Friday evening, with killer performances from the likes of Wolf Alice (“Don’t Delete the Kisses” the natural closer) a day before their Lollapalooza set – there’s a long, proud tradition of Osheaga/Lollapalooza crossover – as well as indie sensations Wet Leg ( with the French-adjacent “mangetout”) and bigger stars like Twenty One Pilots and, almost a year to the day that Jamie XX played Osheaga 2022, U.K. rockers The XX, who raucously closed out their act with, amusingly enough, “Intro”, likely still their most popular song.

Saturday kicked things up a notch, with headliner Tate McRae, the Calgary native behind such hits as “greedy” and “Sports Car”. The McRae fans were in full force, sporting identikit wardrobe and singing along full throttle to all her greatest hits. For those not so pop-inclined, Saturday offered up a wealth of options across a wealth of genres, including Vancouver’s own Finn Wolfhard (“Trailers After Dark”), also fresh off a Lollapalooza performance, as well as hardcore punkers Turnstile (“Birds”) and, the surprise of the festival, a previously-unannounced set for Québec “math rock” sensations Angine de Poitrine. I don’t get them, you don’t get them, but the Internet seems to love them, and they were there in all their costumed glory.

The rain-dappled Sunday closed things off with Lorde (sadly Charli XCX-less, despite a Charli cameo at Lollapalooza days earlier), the very cool Of Monsters and Men (“Little Talks”), and the awesomely weird German DJ HorsegiirL (“My Little White Pony”), who is, you guessed it, a girl in a horse mask.

Beyond the stages, we were pleased to encounter some relatively fairly priced drinks and food trucks, as well as the famed Osheaga behind-the-scenes maneuvering which kept everything on schedule, moving, and safe. Free water bottles distributed throughout the day to parched fans was a nice touch. We also loved – as we always do – how smoothly and effortlessly the transit home was handled, with plentiful staff on hand to guide fans to the Metro, manage traffic control, and generally help us get home safe. Cannot wait for l’année prochaine; let the rampant speculating about performers begin!

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Early Bird Tickets for Osheaga 2027 are on sale now.

The post Osheaga 2026: XX Marks the Spot appeared first on Toronto Guardian.