Entertainment
3 Questions For 3 Time JUNO Award Nominee Earl Pereira
It’s hard not to smile when thinking that at some point in my day I’ll get to have a little catch up session with one of my favourite buds in the music biz, Earl Pereira. If you’ve had the pleasure of meeting Earl then you know it’s really hard to ignore that beaming smile of his. It’s almost like a signature. Theres something about a smile like Earl’s that just captivates the moment.
I first met Earl in Saskatoon, SK probably 98’ or close to it. Wide Mouth Mason was at Lydia’s that night and we were down the way at the Wash n’ Slosh. Yes, you read that correctly. A Laundromat that dubbed as a live music venue or vice versa, whatever… Thats a different story all together. At any rate, Earl would have no recollection of meeting that evening as we literally had the opportunity to have a very quick hi hello and presto they were on stage. Always seems like the case. Nothing but time before the show and then in a heartbeat it’s go time and you’re standing there thinking “I’m not ready tho…” That might be just me?
Fast forward, it was 2012 and I was finishing the songs with long time friend, band mate and basically brother Michael John. We needed a bass player for the studio sessions and our agent suggested we call Earl. I thought “yeah right, like he’s gonna play on our track.” It wasn’t long after that I got word he was into it. Within a couple of weeks we were sitting in the studio with the producer Ryan Andersen (No Love) when I got the text from Earl saying they were outside. I was legit thinking “is this really happening?” Yes, sure was. Next thing I know Earl Pereira is bobbing along smiling, bass in hand bringing this track to life. I’ll never forget the words he said as he did his first pass “looks like you’ve got yourselves a little hit here…” Well, ‘Bobby Doesn’t Know’ it did not go on to be a hit haha. It was however one of the coolest nights of my career and one of the songs I’m most proud of. It’s how I met Earl Pereira, friend since then for life. Naturally we then had beers and ordered more pizza than I’ve ever seen in my life and had an incredible hang.
These are my three questions for JUNO nominee Earl Pereira:
- What has been your go to food and or meal through this whole world wide lockdown?
- Who is the first band you wanna see live in concert once this is all over?
- How would you describe the role music plays on your mental health during the last few months?
Business
Will Paramount turn the tide of legacy media and entertainment?

From the Daily Caller News Foundation
The recent leadership changes at Paramount Skydance suggest that the company may finally be ready to correct course after years of ideological drift, cultural activism posing as programming, and a pattern of self-inflicted financial and reputational damage.
Nowhere was this problem more visible than at CBS News, which for years operated as one of the most partisan and combative news organizations. Let’s be honest, CBS was the worst of an already left biased industry that stopped at nothing to censor conservatives. The network seemed committed to the idea that its viewers needed to be guided, corrected, or morally shaped by its editorial decisions.
This culminated in the CBS and 60 Minutes segment with Kamala Harris that was so heavily manipulated and so structurally misleading that it triggered widespread backlash and ultimately forced Paramount to settle a $16 million dispute with Donald Trump. That was not merely a legal or contractual problem. It was an institutional failure that demonstrated the degree to which political advocacy had overtaken journalistic integrity.
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For many longtime viewers across the political spectrum, that episode represented a clear breaking point. It became impossible to argue that CBS News was simply leaning left. It was operating with a mission orientation that prioritized shaping narratives rather than reporting truth. As a result, trust collapsed. Many of us who once had long-term professional, commercial, or intellectual ties to Paramount and CBS walked away.
David Ellison’s acquisition of Paramount marks the most consequential change to the studio’s identity in a generation. Ellison is not anchored to the old Hollywood ecosystem where cultural signaling and activist messaging were considered more important than story, audience appeal, or shareholder value.
His professional history in film and strategic business management suggests an approach grounded in commercial performance, audience trust, and brand rebuilding rather than ideological identity. That shift matters because Paramount has spent years creating content and news coverage that seemed designed to provoke or instruct viewers rather than entertain or inform them. It was an approach that drained goodwill, eroded market share, and drove entire segments of the viewing public elsewhere.
The appointment of Bari Weiss as the new chief editor of CBS News is so significant. Weiss has built her reputation on rejecting ideological conformity imposed from either side. She has consistently spoken out against antisemitism and the moral disorientation that emerges when institutions prioritize political messaging over honesty.
Her brand centers on the belief that journalism should clarify rather than obscure. During President Trump’s recent 60 Minutes interview, he praised Weiss as a “great person” and credited her with helping restore integrity and editorial seriousness inside CBS. That moment signaled something important. Paramount is no longer simply rearranging executives. It is rethinking identity.
The appointment of Makan Delrahim as Chief Legal Officer was an early indicator. Delrahim’s background at the Department of Justice, where he led antitrust enforcement, signals seriousness about governance, compliance, and restoring institutional discipline.
But the deeper and more meaningful shift is occurring at the ownership and editorial levels, where the most politically charged parts of Paramount’s portfolio may finally be shedding the habits that alienated millions of viewers.The transformation will not be immediate. Institutions develop habits, internal cultures, and incentive structures that resist correction. There will be internal opposition, particularly from staff and producers who benefited from the ideological culture that defined CBS News in recent years.
There will be critics in Hollywood who see any shift toward balance as a threat to their influence. And there will be outside voices who will insist that any move away from their preferred political posture is regression.
But genuine reform never begins with instant consensus. It begins with leadership willing to be clear about the mission.
Paramount has the opportunity to reclaim what once made it extraordinary. Not as a symbol. Not as a message distribution vehicle. But as a studio that understands that good storytelling and credible reporting are not partisan aims. They are universal aims. Entertainment succeeds when it connects with audiences rather than instructing them. Journalism succeeds when it pursues truth rather than victory.
In an era when audiences have more viewing choices than at any time in history, trust is an economic asset. Viewers are sophisticated. They recognize when they are being lectured rather than engaged. They know when editorial goals are political rather than informational. And they are willing to reward any institution that treats them with respect.
There is now reason to believe Paramount understands this. The leadership is changing. The tone is changing. The incentives are being reassessed.
It is not the final outcome. But it is a real beginning. As the great Winston Churchill once said; “Now this is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning”.
For the first time in a long time, the door to cultural realignment in legacy media is open. And Paramount is standing at the threshold and has the capability to become a market leader once again. If Paramount acts, the industry will follow.
Bill Flaig and Tom Carter are the Co-Founders of The American Conservatives Values ETF, Ticker Symbol ACVF traded on the New York Stock Exchange. Ticker Symbol ACVF
Learn more at www.InvestConservative.com
Censorship Industrial Complex
The FCC Should Let Jimmy Kimmel Be
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