Entertainment
An amazing lineup of headliners awaits at this year’s CFR Cabaret!
The Canadian Finals Rodeo returns to Red Deer October 29th, bringing together the world’s best rodeo athletes and fans from all around! Over six days, you can catch high energy performances in Bareback Riding, Bull Riding, Steer Wrestling, Ladies Barrel Racing, and more!
And the party really kicks off after dark with the CFR Cabaret! As the official post-performance party of the Canadian Finals Rodeo, the Cabaret features some of the hottest acts in country music today!
Even better, entry for the CFR46 Cabaret is free, with the exception of Saturday night’s performance featuring Corb Lund.
Just look at this entertainment lineup!
Tuesday, October 29th – Doc Walker

With over 20 Top 10 singles in total, Doc Walker is one of the most recognized Canadian country acts of the past two decades. The group has received multiple Canadian Country Music Awards, including Fans’ Choice, Group or Duo of the Year, CMT Video of the Year, Single of the Year, and Country Music Program or Special of the Year. In addition, Doc Walker has been nominated for several JUNO Awards for Country Album of the Year, including a win in 2009 for the album Beautiful Life.
Wednesday, October 30th – Bobby Wills

An acclaimed musician with a reputation for writing from the heart, CCMA Award winning artist Bobby Wills (MDM Recordings Inc. / Universal Music Canada) is best known for two things – his signature cowboy hat and a diverse musical personality, combining a classic country sound with a toe-tapping, dynamic twist.
Thursday, October 31st – George Canyon

George Canyon’s accomplishments include CCMA Awards, Juno Awards, ECMA Awards and 12 recorded albums! Canyon is a highly regarded humanitarian, strong supporter of the military, and, most important, a proud father and devoted husband. George Canyon’s latest single is titled ‘Out Of This Town’. Produced by Scott Cooke, it is now available on all streaming and purchasing platforms, and is climbing the charts at Canadian country radio. The single is the first from a forthcoming new album.
Friday, November 1st – The Road Hammers

The highest selling Canadian country band in history, The Road Hammers, are back with a brand-new album, The Squeeze, a compilation of tracks that epitomizes what the band has become known for – a truly synergistic blend of classic rock meets country.
Saturday, November 2nd – Corb Lund

“When you come from generations of ranchers and rodeo people, you can’t help but be influenced by the West,” says award-winning roots country singer Corb Lund. Lund embraces his Western heritage through his music, touching on a range of cowboy themes past and present—from rough-and-tumble tales of lawless frontier saloons, to the somber realities of running a modern family ranch.
This is the only ticketed event at the CFR Cabaret- tickets are $25 each and you can get yours HERE.
Click to find out everything there is to know about the Canadian Finals Rodeo in Red Deer, AB.
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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