Entertainment
Canadian Finals Rodeo ‘Cabaret Corral’ Live Music Line-Up Announcement
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
UNESCO’s New Mission: Train Influencers About Combatting Online “Misinformation”
The UN Educational, Scientific and Cultural Organization (UNESCO) is now incorporating teaching influencers how to “fact check” into its activities.
UNESCO claims that influencers have become “primary sources of news and cultural information” around the world – which prompted it to carry out a survey into how these online personalities verify the “news” they present.
Citizens in UN member-countries may or may not be happy that this is how their taxpayer money funding the world organization is being spent these days. But UNESCO is not only conducting surveys; it is also developing a training course for said influencers (which are also interchangeably referred to as content creators in press releases).
It’s meant to teach them not only to “report misinformation, disinformation and hate speech” but also to collaborate with legacy media and these outlets’ journalists, in order to “amplify fact-based information.”
The survey, “Behind the screens,” was done together with researchers from the US Bowling Green State University. 500 influencers from 45 countries took part, and the key findings, UNESCO said, are that 63 percent of them “lack rigorous and systematic fact-checking protocols” – but also, that 73% said they “want to be trained.”
This UN agency also frames the results as showing that respondents are “struggling” with disinformation and hate speech and are “calling for more training.”
UNESCO is justifying its effort to teach influencers to “rigorously” check facts by referring to its media and information literacy mandate. The report laments that mainstream media has become “only the third most common source (36.9%) for content creators, after their own experience and their own research and interviews.”
It would seem content creators/influencers are driven by common sense, but UNESCO wants them to forge closer ties with journalists (specifically those from legacy, i.e., traditional media – UNESCO appears very eager to stress that multiple times.)
Related: United Nations Development Program Urges Governments to Push Digital ID
Under the guise of concern, the agency also essentially warns creators/influencers that they should be better aware of regulations and “international standards” that pertain to digital media – in order to avoid “legal uncertainty” that exposes them to “prosecution and conviction in some countries.”
And now, UNESCO and US-based Knight Center for Journalism in the Americas have launched a one-month course which is currently involving 9,000 people from 160 countries. The goal is to train them to “address disinformation and hate speech and provide them with a solid grounding in global human rights standards.”
The initiative looks like an attempt to get “traditional” journalists to influence the influencers, and try to prop up their outlets, that are experiencing an erosion in trust among their audiences.
If you’re tired of censorship and surveillance, subscribe to Reclaim The Net.
Business
Canadians largely ignore them and their funding bleeds their competition dry: How the CBC Spends its Public Funding
If we want to intelligently assess the value CBC delivers to Canadians in exchange for their tax-funded investment, we’ll need to understand two things:
- How CBC spends the money we give them
- What impact their product has on Canadians
The answer to question #2 depends on which Canadians we’re discussing. Your average young family from suburban Toronto is probably only vaguely aware there is a CBC. But Canadian broadcasters? They know all about the corporation, but just wish it would lift its crushing hobnailed boots from their faces.
Stick around and I’ll explain.
For the purposes of this discussion I’m not interested in the possibility that there’s been reckless or negligent corruption or waste, so I won’t address the recent controversy over paying out millions of dollars in executive benefits. Instead, I want to know how the CBC is designed to operate. This will allow us to judge the corporation on its own terms.
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CBC’s Financial Structure
We’ll begin with the basics. According to the CBC’s 2023-24 projections in their most recent corporate plan strategy, the company will receive $1.17 billion from Parliament; $292 million from advertising; and $209 million from subscriber fees, financing, and other income. Company filings note that revenue from both advertising and legacy subscription pools are dropping. Advertising is trending downwards because of ongoing changes in industry ad models, and the decline in subscriptions can be blamed on competition from “cord-cutting” internet services. The Financing and other income category includes revenue from rent and lease-generating use of CBC’s many real estate assets.
The projected combined television, radio, and digital services spending is $1.68 billion. For important context, 2022-23 data from the 2022-2023 annual report break that down to $996 million for English services, and $816 million for French services. 2022-23 also saw $60 million in costs for transmission, distribution, and collection. Corporate management and finance costs came to around $33 million. Overall, the company reported a net loss of $125 million in 2022-23.
The corporation estimates that their English-language digital platforms attract 17.4 million unique visitors each month and that the average visitor engages with content for 28 minutes a month. In terms of market relevance, those are pretty good numbers. But, among Canadian internet users, cbc.ca still ranked only 43rd for total web destinations (which include sites like google.com and amazon.ca). French-language Radio-Canada’s numbers were 5.2 million unique visitors who each hung around for 50 minutes a month.
Monthly engagement with digital English-language news and regional services was 20 minutes. Although we’re given no visitor numbers, the report does admit that “interest in news was lower than expected.”
CBC content production
All that’s not very helpful for understanding what’s actually going on inside CBC. We need to get a feel for how the corporation divides its spending between programming categories and what’s driving the revenue.
The CRTC provides annual financial filings for all Canadian broadcasters, including the CBC. I could describe what’s happening by throwing columns and rows of dollar figures at you. In fact, should you be so disposed, you can view the spreadsheet here. But it turns out that my colorful graph will do a much better job:
As you can see for yourself, CBC spends a large chunk of its money producing news for all three video platforms (CBC and Radio-Canada conventional TV and the cable/VOD platforms they refer to as “discretionary TV”). The two conventional networks also invest significant funds in drama and comedy production.
The chart doesn’t cover CBC radio, so I’ll fill you in. English-language production costs $143 million (roughly the equivalent of the costs of English TV drama/comedy) while the bill for French-language radio production came in at $94 million (more or less equal to discretionary TV news production).
CBC Content Consumption
Who’s watching? The CBC itself reported that viewers of CBC English television represented only 5.1 percent of the total Canadian audience, and only 2.0 percent tuned in to CBC news. By “total Canadian audience”, I mean all Canadians viewing all available TV programming at a given time. So when the CBC tells us that their News Network got a 2.0 percent “share”, they don’t mean that they attracted 2.0 percent of all Canadians. Rather, they got 2.0 percent of whoever happened to be watching any TV network – which could easily come to just a half of one percent of all Canadians. After all, how many people still watch TV?
According to CRTC data, between the 2014–15 and 2022–23 seasons, English language CBC TV weekly viewing hours dropped from 35 million to 16 million. That total would amount to less than six minutes a day per anglophone Canadian. Specifically, news viewing fell by 52 percent, sports by 66 percent, and drama and comedy by 51 percent.
CBC Radio One and CBC Music only managed to attract 14.3 percent of the Canadian market. What does that actually mean? I’ve seen estimates suggesting that between 15 and 25 percent of all Canadians listen to radio during the popular daily commute slots. So at its peak, CBC radio’s share of that audience is possibly no higher than 3.5 percent of all Canadians.
A recent survey found that only 41 percent of Canadians agreed the CBC “is important and should continue doing what it’s doing.” The remaining 59 percent were split between thinking the CBC requires “a lot of changes” and was “no longer useful.” Those numbers remained largely consistent across all age groups.
It seems that while some Canadian’s might support the CBC in principle, for the most part, they’re not actually consuming a lot of content.
CBC Revenue sources
CBC’s primary income is from government funding through parliamentary allocations. Here’s what those look like:
Advertising (or, “time sales” as they refer to it) is another major revenue source. That channel brought in more than $200 million in 2023:
But here’s the thing: the broadcast industry in Canada is currently engaged in a bitter struggle for existence. Every single dollar from that shrinking pool of advertising revenue is desperately needed. And most broadcasters are – perhaps misguidedly – fighting for more government funding. So why should the CBC, with its billion dollar subsidies, be allowed to also compete for limited ad revenue?
Or, to put it differently, what vital and unique services does the CBC provide that might justify their special treatment?
It’s possible that CBC does target rural and underserved audiences missed by the commercial networks. But those are clearly not what’s consuming the vast majority of the corporation’s budget. Perhaps people are watching CBC’s “big tent” drama and comedy productions, but are those measurably better or more important than what’s coming from the private sector? And we’ve already seen how, for all intents and purposes, no one’s watching their TV news or listening to their radio broadcasts.
Perhaps there’s an argument to be made for maintaining or even increasing funding for CBC. But I haven’t yet seen anyone convincingly articulate it.
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