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Entertainment

Canadian Finals Rodeo ‘Cabaret Corral’ Live Music Line-Up Announcement

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6 minute read

The 49th Canadian Finals Rodeo (CFR 49), set to run November 1-5, 2023, is right around the corner, and we are excited to announce this year’s ‘Cabaret Corral’ country music entertainment
lineup.

With doors opening at 4:00 pm Wednesday, Thursday, Friday, and 10:30 am Saturday, the nightly free event features live music immediately following each rodeo performance in the Prairie Pavilion, showcasing some incredible Canadian talent, including:


Wednesday, November 1st – Brandon Lorenzo

Brandon Lorenzo is a homegrown country artist with a modern twist. Lorenzo was honoured with the titles of Male Vocalist of the Year and Male Entertainer of the Year at the North American
Country Music Awards International (NACMAI) in Nashville in 2023. Additionally, he has received nominations for two categories at the upcoming Jose Awards in Nashville in October. Brandon is an Eight-time Country Music Alberta Nominee, the 2020 Global Country Canada Winner and the 2020 YYC People’s Choice Award Winner.

Lorenzo released his latest single, “One of a Kind”, to country radio in August, showcasing his evolving musical style. Lorenzo has an ever-growing presence in the Canadian Country Music Industry and has gained international recognition, opening for names such as Randy Houser and Brett Kissel, to name a few. He is a rising star, leaving an indelible mark on the country music scene.


Thursday, November 2nd – Shantaia

2023 SCMA Female Artist of the Year Shantaia is a Nashville based singer/songwriter who was born and raised in the tiny town of Spiritwood, Saskatchewan. Showcasing powerful and unique vocals, Shantaia’s voice, much like her name, is unforgettable.

Shantaia recently toured with The Washboard Union, and has also opened for names such as, Kane Brown, Chris Lane, Ryan Hurd, Emerson Drive, Charlie Major and more.

Shantaia has played festivals all over Canada, including Cavendish Beach Music Festival, North by North East, Dauphin’s Country Fest, Country Thunder Saskatchewan, and because of SaskMusic
and Breakout West, Shantaia played an official Americana Fest Showcase in 2019 in Nashville.

 

Friday, November 3rd – Quinton Blair

Honest as a day spent on a tractor and driven like the drifting Prairie snow. A 7-time Manitoba Country Music Association award winner, Quinton Blair is a road-running, tale-spinning singer/songwriter. Playing his brand of 90s-infused country from the Shield to the Rockies.

Sharing the stage with countless Canadian and American country acts, Blair has performed his brand of a troubadour, storytelling country that carries heavy undertones both of 70’s outlaw
country and 90’s dancehall country flavour with fans all over North America.

 


Saturday, November 4th – Drew Gregory – Back by POPULAR Demand!

There is an undeniable authenticity and truthfulness to Drew Gregory’s music. The songs of this award-winning Alberta country music sensation are infused with a down-home realism, a gritty
honesty, and a vibrant sense of rootedness that comes from years spent working the land as a farmer – an aspect of his life that is deeply connected to his talent as a musician, singer, and
songwriter. Over his burgeoning career, to name a few, he has shared the stage and opened the concert and festival dates for Miranda Lambert, Kip Moore, Old Dominion, John Michael
Montgomery, Big & Rich, Emerson Drive, and Chad Brownlee.

These incredible artists will once again be backed by the “CFR All-Star Band,” a collection of Canadian musicians that boast dozens of Canadian Country Music Awards and CCMA Hall-of Fame Honours among them, playing with Canadian icons such as Dallas Smith, High Valley, Gord Bamford, James Barker Band, and many, many more.

The CFR Night Shift continues with the nightly Buckles Presentation at approximately 9:30 pm, and the music rolls on late into the night with DJ B-Town returning to keep the good times
going until the nightly 1:00 am last call.

Additional entertainment announcements will follow in the days ahead. All Cabaret Corral entertainment is free for everyone of all ages to attend and is the place to be for both pre and post rodeo performances at the Canadian Finals Rodeo. Find details, including performance times, at CFRRedDeer.ca.

About the CPRA: With headquarters in Airdrie, Alberta, the CPRA is the official sanctioning body for Professional Rodeo in Canada. The CPRA approves 55 events annually with a total payout exceeding $5.7 million. The organization oversees the Pro Tour Finals each fall, holds their premiere event – the Canadian Finals Rodeo (CFR) – at Westerner Park in Red Deer, AB and endorses the Maple Leaf Circuit Finals in late Nov, as part of Canadian Western Agribition.

About Westerner Park: Westerner Park is Central Alberta’s largest tradeshow, agriculture, sports, entertainment, and convention facility. A not-for-profit organization and agricultural society, Westerner Park generates $150 million annually in economic activity hosting over 1,500 events with 1.5 million visitors each year.

Censorship Industrial Complex

The FCC Should Let Jimmy Kimmel Be

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Reason.com - Free Minds and Free Markets

Earlier this week, comedian Jimmy Kimmel delivered his monologue, as he does at the beginning of every episode of his show, Jimmy Kimmel Live!. He focused on the reaction to the assassination of conservative media figure Charlie Kirk, and claimed that “the MAGA gang” was “desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them.”

In addition to not being very funny, the observation rested on a false assumption—that the presumed killer, 22-year-old Utah man Tyler Robinson, is a conservative. Incorrect notions about the suspect’s political tribe have remained enduringly popular in liberal media circles; one of the top mainstream liberal Substack writers, Heather Cox Richardson, wrote earlier this week that the motive of the alleged shooter “remains unclear.” This is simply not true: Interviews with Robinson’s friends and family members, as well as text messages between Robinson and his roommate—his transgender romantic partner—paint a clear portrait of a man who found Kirk’s conservative views “harmful.” It’s fine to leave room for new details that further elucidates or complicates this picture, but for now the totality of the available information suggests an essentially left-wing motivation.

While Kimmel is a comedian rather than a newscaster, given how paranoid the mainstream media is about the spread of so-called misinformation, the criticism of Kimmel on this subject was well-deserved. And I had been planning to criticize him in this newsletter all week.

Unfortunately, the story no longer ends there.

Brendan Carr, chair of Federal Communications Commission (FCC), weighed in on the matter; not only did he criticize what Kimmel had to say, he also implicitly threatened the broadcasters. (Kimmel’s show appears on ABC.)

“We can do this the easy way or the hard way,” said Carr during an appearance on conservative influencer Benny Johnson’s podcast. “These companies can find ways to change conduct, to take action, frankly on Kimmel, or there’s going to be additional work for the FCC.”

This was not an idle threat. The FCC licenses broadcast channels, and can fine them or even take them off the air. Moreover, the FCC oversees mergers of companies in the communications space. Nexstar Media, which owns many of the ABC local affiliate stations that air Kimmel, is attempting to acquire Tegna Inc., a rival firm; the FCC needs to okay the deal. There’s a lot at stake, and FCC can make life very difficult for companies that defy it.

And so, on Wednesday night, both Nexstar and Sinclair Broadcast Group—another major telecommunications company—informed ABC that they would not air Kimmel on their affiliate stations. ABC then opted to place the show on indefinite hiatus. (Disclaimer: Nexstar owns Rising, the news show I host for The Hill.)

This is outrageous. Not because Kimmel is gone: Private companies have the right to determine their programming as they see fit, and a washed-up comedian telling lame jokes about a subject he is clearly misinformed on—for a declining number of viewers, as part of a media format that is antiquated and perpetually losing money—is not a recipe for riveting television. Letting Kimmel and the rest of the late night crowd go instinct is perfectly fine. It’s a business decision.

But it shouldn’t be a government decision. By inserting itself into the controversy and appearing to twist the arms of private companies so that they would make editorial decisions that please the Trump administration, the FCC is clearly engaged in a kind of censorship.

As Glenn Greenwald put it, “This shouldn’t be a complicated or difficult dichotomy to understand. Jimmy Kimmel is repulsive, but the state has no role in threatening companies to fire on-air voices it dislikes or who the state believes is spreading “disinformation,” which is exactly what happened here.”

Boneheaded

Moreover, the Trump administrations actions are functionally equivalent to the Biden administration’s attacks on private social media companies, which caused numerous free speech infringements during the COVID-19 pandemic. I explored this subject in great detail in my March 2023 cover story for Reason, “How the CDC Became the Speech Police,” which explored federal officials efforts to coerce Facebook, Google, and X into taking down content. In that article, I reported that social media companies routinely felt compelled to compromise their explicit terms of service as well as their stated commitments to free speech in order to appease both the CDC and the White House itself. I pointed out that threats by President Biden—who accused Facebook of “killing people” when it declined to censor anti-vaccine content—as well as his comms staffers were likely motivating factors behind a whole host of regrettable moderation decisions.

When government employees use the threat of regulation, fines, and other forms of punishment to induce private companies into self-censorship, it’s known as jawboning. Whether the practice violates the First Amendment—which constrains the government’s ability to restrict speech—is not an entirely settled matter. In Murthy v. Missouri, the Supreme Court declined to rule that the Biden administration had violated the First Amendment rights of social media users; the majority decision, however, had to do with standing, and did not actually address the arguments of the plaintiffs. Many free speech scholars rightly believe that the First Amendment rights of private media companies and their users will not be protected until and unless the Court makes clear that this sort of behavior from federal bureaucrats—jawboning—is wrong.

Ironically, FCC chair Carr has strongly denounced jawboning in the past, and in general been a strong supporter of First Amendment rights. He frequently called out the Biden administration for engaging in this very practice.

There is simply no way to square this circle: If it’s wrong for the Biden administration to pressure social media companies to serve the public interest—as defined by Biden—and censor fraught content, then it is wrong for the Trump administration to pressure broadcasters to enforce a Trump-defined public interest.

Shortly after taking office, President Trump issued a praiseworthy executive order on “Restoring Freedom of Speech and Ending Federal Censorship.” The FCC’s present actions are thwarting this very noble work.

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Business

Disney scrambles as young men reject DEI-filled franchises

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MXM logo MxM News

Quick Hit:

A new op-ed argues Disney’s progressive push has driven away the very audience its biggest franchises should naturally attract: young men. Writer Zachary Faria says the company is now scrambling to undo the damage caused by years of prioritizing “diversity, equity, and inclusion” over storytelling.

Key Details:

  • Zachary Faria of the Washington Examiner writes that Disney has made its blockbuster franchises “toxic to young men” through DEI-driven changes.
  • Faria cites examples across Marvel, Star Wars, and Indiana Jones where traditional heroes were replaced, demeaned, or sidelined in favor of “ideological propaganda.”
  • He argues Disney has “no one to blame but itself” for alienating its male audience and is now considering original films to try to win them back.

Diving Deeper:

In a blistering critique published in the Washington Examiner, columnist Zachary Faria argues Disney’s embrace of progressive politics has caused the company to alienate one of its most natural audiences: young men between the ages of 13 and 28. “Disney’s progressive ideology has alienated young men. The company now recognizes that its own franchises are toxic to that audience,” Faria wrote.

Disney executives are reportedly brainstorming ways to bring young men back to theaters, despite owning some of the most male-oriented franchises in modern history. “You would think that this wouldn’t be very difficult: Disney owns Marvel, Star Wars, and Indiana Jones, among other franchises that should all naturally appeal to a younger, male audience,” Faria observed.

Instead, he says the company has used those franchises as vehicles for divisive politics. “Marvel went from being defined by Iron Man, Captain America, and Thor to being defined by mediocre Disney+ series mired in DEI propaganda,” Faria noted. He pointed specifically to the Iron Heart series, where “a young black girl (who is also a criminal) [becomes] the new Iron Man, as she dismisses her predecessor as being nothing more than a privileged rich man.”

The same pattern, he argues, can be seen in Lucasfilm and Indiana Jones. Harrison Ford’s iconic hero was supplanted by a female co-star “who the latest bomb of a film positions as morally superior to him.” Meanwhile, The Acolyte turned the Jedi into villains while portraying “the heroic lesbian space witch cult at the heart of the movie.”

For Faria, this strategy is backfiring. “With those brand names in its pocket, Disney should have been playing on easy mode when it came to winning over young male viewers. Instead, Disney has made those franchises so toxic that it is reportedly looking for original film concepts to win over young men,” he wrote. He added that it is now “easier to come up with a completely original story that will appeal to young men than it is to appeal to them with a Star Wars film.”

Faria concluded with a sharp comparison between the entertainment giant and the political left: “Disney, much like the Democratic Party, has embraced an ideology that belittles and ostracizes young men, and is now facing the reality that young men no longer want anything to do with its brand. Disney is trying to figure out how to win over the people it purposefully alienated over the last several years, and it has no one to blame but itself.”

Disney+ Day” by Anthony Quintano licensed under (CC BY-SA 2.0)
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