Entertainment
Top Roots Act Elliott Brood Friday Night at Bo’s
For their fifth album,
Elliott Brood wanted to
break things.
We like this Elliot Brood video but don’t be fooled, this is no ukulele act. They’re just having fun and making great music!
You are in for a treat on Friday night when Elliot Brood, one of Canada’s top Roots music acts, hit the stage at Bo’s Bar and Grill.
2008’s Mountain Meadows was shortlisted for the Polaris Prize, and the band’s last record, Days Into Years, won a 2011 Juno award for Roots Album of the Year, both co-produced with John Critchley. Now was the time to smash the precedents, break the mould. To withdraw to a farmhouse in Bath, Ontario, hammering out nine songs in two weeks.
For the first time, Elliott Brood decided to hand over the reins to a producer: Ian Blurton, who has helped make roaring records for the Weakerthans, Skydiggers and Cursed. And for the first time, the group’s two songwriters decided to mine the bare histories of their own lives: penning verses about the ends of relationships and the tests of adulthood, long drives, childhood retreating in a rear-view mirror. “Work and love will make a man out of you,” the Constantines sang; and so here is Elliott Brood’s Work and Love, their most personal album to date, the sound of a grown-up band searching their hearts for all they’ve lost and gained.
Casey Laforet, Mark Sasso and Stephen Pitkin recorded Work and Love in the cold spring of 2014, as the ice was coming apart on Lake Ontario. They deserted their families and holed up in the Tragically Hip‘s Bathhouse Studio, scarcely emerging – waking and playing and playing and playing, one song a day. The magic usually happened some time after midnight, when they were “just tired enough”. Blurton would come out and lure them into a new place: a different, even truer landscape. They called him “the Wizard”. Blurton the Wizard and engineer Nyles “the Mad Scientist” Spencer, filling the corners of songs with burred effects and tape loops. Elliott Brood had “played it safe” for four records, they claim: Blurton sharpened their sound, weathered and interrogated it, forced the three musicians to confront their own habits. And it made for a full-length that gestures toward the Hip and the Cons as much as it does to Richard Buckner and Whiskeytown. Adding dimension to select tracks on the album, the band is joined by Aaron Goldtein (City and Colour, Daniel Ramano) on Pedal Steel and John Dinsmore (Kathleen Edwards, Sarah Harmer) on bass (for “Each Other’s Kids”).
These songs are loud and quiet but mostly loud, and always reaching toward something. First loves, lost loves, fuck- ups and young men’s just desserts. Laforet has called Work and Love a “lament for youth”, but it’s also a eulogy for the moments that came just after, on the doorstep of manhood. It’s music of remembered abandon, new burdens, and those nights, years ago, when the moonlit fields seemed to go on forever. It’s Elliott Brood at their sheerest, facing forward and backward at the same time.
Formed in 2002, Elliott Brood (the name, a bastardized homage to the fem fatal character in the 1984 Baseball film The Natural) united teenage pals Sasso and Laforet over their grown-up love for Neil Young, The Band and the Flying Burrito Brothers. Pitkin was an accidental miracle: he fell into the group after working sound at one of their earliest concerts, offering to record their first EP. Tin Type was a college radio hit and soon this compact trio was making some big noise. Across five subsequent albums, sharing vocals and trading instruments – each of the band-members seems to play everything – Elliott Brood have become one of the premier acts in Canadian roots music. Work and Love is out October 21st, 2014 on Paper Bag Records.
Here’s a vintage piece of video from a performance at SXSW 09. This will be a great night of Canadian Roots music from one of our country’s finest.
To find out more about some of the great things going on at Bo’s Bar and Grill CLICK HERE.
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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