CBS News said Friday it will shut down its storied radio news service after nearly 100 years of operation, ending an era and blaming challenging economic times as the world moves on to digital sources and podcasts.

When it went on the air in September 1927, the service was the precursor to the entire network, giving a youthful William S. Paley a start in the business. Famed broadcaster Edward R. Murrow’s rooftop reports during the Nazi bombing of London during World War II kept Americans listening anxiously.

Today, CBS News Radio provides material to an estimated 700 stations across the country and is known best for its top-of-the-hour news roundups. The service will end on May 22, the network said Friday.

“Radio is woven into the fabric of CBS News and that’s always going to be part of our history,” CBS News editor-in-chief Bari Weiss said in delivering the news to the staff. “I want you to know that we did everything we could, including before I joined the company, to try and find a viable solution to sustain the radio operation.”

But with the radical changes in the media industry, “we just could not find a way to make that possible,” she said.

Not the first radio cuts at CBS

CBS News cut some of its radio programming late last year, including its “Weekend Roundup” and “World News Roundup Late Edition,” in an attempt to keep the service going.

It was unclear how many people will lose their jobs because of the radio shutdown. CBS News was cutting about 6% of its workforce, or more than 60 people, on Friday. It’s not the end of turmoil at the network, as parent company Paramount Global is likely to absorb CNN as part of its announced purchase of Warner Bros. Discovery.

Along with newspapers, radio was the dominant medium in how Americans got their news from shortly after the dawn of commercial radio in 1920 through the 1940s, with people in their living rooms listening to President Franklin Delano Roosevelt’s “Fireside Chats” during the Depression. CBS News Radio’s broadcast about Germany’s invasion of Austria in 1938, the first time Murrow was heard on the air, was an historic marker for the service.

Broadcasters like Douglas Edwards, Dallas Townsend and Christopher Glenn were familiar voices on CBS News Radio. The beginning of the television era in the 1950s began a long slide for radio, often an afterthought today with the world online and on phones. Those seeking audio often turn to podcasts before radio.

“This is another part of the landscape that has fallen off into the sea,” said Michael Harrison, publisher of Talkers, a trade publication for radio talk shows. “It’s a shame. It’s a loss for the country and for the industry.”

A major radio player for many decades

CBS News Radio was a major force for generations of Americans. “Its heyday spanned decades,” Harrison said. “It was quality on every level. It sounded good. Its coverage was as objective as possible within the realm of human nature. Its resources were extensive. It had a very high trust factor that was considered the standard of the day.”

The front page of CBS News’ website did not immediately carry news of the demise.

Weiss, founder of the Free Press website and without broadcast news experience before being hired by CBS parent Paramount’s new management, has quickly become a headline-maker and polarizing figure in journalism. She held a “60 Minutes” story critical of President Donald Trump’s deportation policy from being broadcast for a month and has critics watching to see if she’s moving the network in a Trump-friendly direction.

Addressing her staff in January, three months into her job as CBS News boss, she invoked the network’s legendary newsman Walter Cronkite as a symbol of old thinking and said that if the network continues with its current strategy, “we’re toast.” She announced the hiring of 18 new contributors and said CBS News needs to do stories that will “surprise and provoke — including inside our own newsroom.”

This story was originally published by The Associated Press.

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The 2026 NCAA March Madness tournament has started off with a bang. Many top-seeded teams have breezed through the first round already, but we’ve also witnessed a fair share of major upsets. No. 11 Texas defeated No. 6 BYU, No. 12 High Point stunned No. 5 Wisconsin, No. 11 VCU erased a 19-point deficit to knock off No. 6 North Carolina in overtime, and No. 9 TCU beat No. 8 Ohio State. As we enter day two of the first round, one game we’re excited to watch is No. 7 UCLA Bruins vs. No. 10 UCF Knights.

Entering March Madness, the Bruins, led by Coach Mick Croning, is one of the hottest programs to watch. With Donovan Dent and Tyler Bilodeau continuing to be a dynamic duo alongside their fiery offense, UCLA could potentially make a deep run in the tournament if they can stay healthy. Both players sustained injuries during the Big Ten tournament, even as the Bruins picked off Michigan State. Both players are expected to play, but can they sustain a high-level of play through the later rounds?

We believe UCLA has the better odds entering the game, but the Knights shouldn’t be slept on. With rebounding machine Jamichael Stillwell, UCF could dominate the paint and squeeze out another March Madness upset. This is also UCF’s first NCAA tournament since 2019, and just the first time since joining the Big 12.

When Does the UCLA vs. UCF Game Start?

UCLA vs. UCF game will start on March 20 at 7:25 p.m. ET/4:25 p.m. PT at Xfinity Mobile Arena in Philadelphia.

Where to Watch UCLA vs. UCF Online

The UCLA vs. UCF game will broadcast live on TBS, but can be streamed through Sling TV. Keep reading for how to sign up for the streaming service.

Here’s How to Watch the UCLA vs. UCF March Madness Game on Sling TV

Sling TV offers the Blue, Orange and Sling Orange + Blue packages, which come with TBS, ESPN, NBC, USA Network, CNBC, MS NOW, Bravo and others. Blue is one of the most affordable options and comes with more than 40 channels and can be streamed on up to three devices at a time.

You can watch cable networks, including ESPN2, ESPN3 (for ABC simulcast), Disney Channel, Freeform, MotorTrend, A&E, AMC, BBC America, BET, CNN, Comedy Central, Food Network, Fuse, HGTV, History Channel, IFC, Lifetime, Nick Jr., QVC, TNT, Travel Channel, Vice and many others.

Meanwhile, starting at $4.99 for the Sling 1-Day Pass, you can access Sling Blue for 24 hours. Additionally, the Sling 3-Day Pass goes for $9.99 to access Sling Blue from Friday-to-Sunday. Sling 7-Day Pass, which goes for $14.99, gets you access for seven days of Sling Blue.

Please note: Prices and channel availability depends on your local TV market. You can learn more about Sling TV here.

The Ontario government is coming for ticket resellers.

Ontario Premier Doug Ford has announced that the provincial government plans to ban ticket resale transactions at prices exceeding face value, making it illegal for tickets to concerts, cultural, sports and other live events to be resold for more than their original cost.

This new legislation would protect fans and consumers from “exploitative, professional resellers who artificially drive up ticket prices” and ensure Ontarians have a higher chance of attending live events across the province.

“With these new measures, consumers would no longer need to worry about being ripped off in the ticket resale market, and more families and fans would have the opportunity to see their favourite band or sports team perform live,” says Stephen Crawford, minister of public and business service delivery and procurement, in a statement.

On social media, Ford doubles down on the decision: “We’re putting ticket scalpers on notice: Your days of ripping people off are done.”

The government says it also plans to “strengthen validity guarantee requirements” to protect buyers against the sale of fake tickets and stop unfair service fees during the purchasing process.

The decision has received a positive response among some Canadian music organizations. The Canadian Live Music Association (CLMA) is in favour of the law, but notes that the rollout is key.

“The effectiveness of any new framework will depend heavily on how it is enforced, and we are pleased to see new enforcement tools introduced,” the organization writes in a statement. 

“Without clear, consistent, and well-resourced enforcement, there is a real risk that bad actors will adapt in ways that undermine the intent of these changes.”

The CLMA notes that it will continue working alongside the Ontario government “to help ensure these measures are practical, enforceable and effective for both fans and the live events sector.”

The provincial government’s announcement is aptly timed with the FIFA World Cup, which is set to take over Toronto in June, 2026. 

Read more here. — Heather Taylor-Singh

Canada’s Recorded Music Revenues Grow for the 11th Straight Year: IFPI’s Global Music Report 2026

When it comes to music, Canada continues to punch above its weight.

According to the newly released IFPI (International Federation of the Phonographic Industry) Global Music Report, Canada’s recorded music revenues grew for the 11th consecutive year in 2025.

The annual study provides a deep dive into the global music market, analyzing issues and trends within the industry.

The report finds that Canada experienced a 5.6% increase in recorded music market growth last year to reach $957.9 million.

That’s a notable jump from last year’s findings, which flagged a relatively small growth of 1.5%, reaching $660.3 million USD. However, the 2024 figures were in comparison to an unusually high 2023, which was elevated by a large one-off performance rights revenue payout.

Despite the revenue peak, Canada dropped one place in the global rankings, now the ninth-largest market across the world.

“We do punch above our weight,” says Patrick Rogers, CEO of Music Canada, the trade association representing Canada’s three major record labels. “That punching above our weight is based on strong copyright laws and strong fundamentals in the marketplace.”

Music Canada and IFPI credit streaming as a key catalyst.

Revenues overall increased 4.5% to $747 million, while subscription streaming revenues grew 3.4% to $598.5 million and ad-supported streaming (audio and video combined) rose by 9.4% to $148.3 million.

“The idea that you can listen to any song ever recorded, when you want, how you want, through the service of your choice, is really powerful,” Rogers says.

Yet, physical music climbed by 15.9% to $122.2 million, led by vinyl, CD and other formats. While they’re major figures, Rogers says, the “growth numbers” can’t be compared to the era of piracy, when some listeners were illegally downloading their music in the late ’90s and early 2000s, decreasing physical media sales. Nearly three decades later, streaming has made music accessible to everyone.

“Canadians have revalued the value of music to a point in which people are happily paying for music again,” he explains.

Read more here. — HTS

ABBA’s Björn Ulvaeus Joins Canadian Government and Music Industry for AI Summit in Banff, Alberta

In the music and cultural industries, nobody can stop talking about AI.

This week in Banff, Alberta, that conversation took centre stage for three days at the National Summit on Artificial Intelligence and Culture. From March 15-17, 300 leaders from across the cultural and technology sectors converged in an event co-hosted by the Banff Centre for the Arts and Creativity and the Canadian government.

That included a large contingent from the music industry, including (among many others) representatives from Music Publishers Canada and SOCAN, who have been leaders when it comes to fair compensation and copyright for artificially generated works.

“It’s been nice to see the industry aligned,” Patrick Rogers, CEO of Music Canada, the organization that represents the major labels in Canada. “Everyone’s talking to government from different perspectives, but from the same goal: we know that copyright is part of AI, and that part of the solution to getting proper licensing is based in transparency.”

CISAC (the International Confederation of Societies of Authors and Composers) is an organization made up of 227 member societies in 111 countries, including SOCAN in Canada. It represents more than 5 million creators from music to drama, literature and visual arts and has contributed key research about AI and creativity.

In a remote speech, CISAC president Björn Ulvaeus (likely best known as a member of Swedish pop giants ABBA), spoke about the importance of protecting creators in the age of AI.

“If we want human creativity to thrive in the age of artificial intelligence, we must ensure strong protections for creators. Strong protections mean not only making sure that rights are in place but also resisting broad text and data mining exceptions that allow works to be used without permission or payment. When creators are protected, they can continue producing the amusing and cultural works for which Canada is respected around the world.”

Resisting the text and data mining exception aligns him with Music Publishers Canada’s Margaret McGuffin, who argued in an Executive of the Week interview with Billboard Canada earlier this year that existing copyright legislation already accounts for AI and should not be changed to suit “disruptive” tech companies.

“There is no grey area,” she said. “People who say there is don’t want to license. They want to avoid paying.”

In his speech, Ulvaeus stressed that the cultural sector is not afraid of AI, but wants to see it proceed with caution and fairness. He met with Canadian Prime Minister Mark Carney in November, he shared, and told him about how copyright protections led to the rise of ABBA on the global stage.

As part of its commitment, the Canadian government will launch an AI and Culture Advisory council with Ministers Evan Solomon and Marc Miller, and 12 yet-to-be-named rotating members across creative and technology fields. They will meet twice a year to make sure voices are heard in both fields as they prepare to launch a national AI strategy.

Read more here. — Richard Trapunski

Harry Styles’ Kiss All The Time. Disco, Occasionally continues to hold court atop the U.K. chart summit.

The “Aperture” singer’s fourth LP enters a second consecutive week at No. 1 on the U.K.’s Official Albums Chart (dated March 20). The album has already broken multiple records for Styles, including earning him the biggest U.K. opening week of his career to date, with the Official Charts Company reporting that it shifted 183,000 units – also making it the biggest release of 2026 so far.

Kiss All The Time… has also enjoyed huge international success, entering the charts at No. 1 in 19 other countries, including the Billboard 200 with 430,000 equivalent album units earned in the U.S. in the week ending March 12, according to Luminate.

Olivia Dean’s blockbuster second album The Art Of Loving remains at No. 2, while completing the podium finish is James Blake, who secures a career best with Trying Times closing out at No. 3 this week.

It makes Blake’s fifth top 10 accolade to date in the U.K., joining his self-titled 2011 debut (No. 9), 2013’s Overgrown (No. 8), 2019 LP Assume Form (No. 6) and 2021’s Friends That Break Your Heart (No. 4). The new album also tops this week’s Official Record Store and Official Vinyl Albums Charts, selling the most copies on wax this week.

Fleetwood Mac compilation 50 Years – Don’t Stop lands at No. 4, while Tate McCrae’s 2025 LP So Close To What skyrockets 17 places up to No. 5, following the release of a new vinyl variant of its deluxe edition. It marks the highest position the album has charted at since December last year, while it debuted and peaked at No. 2 upon release in March 2025.

Elsewhere, following the release of latest single “Porch Light” from his upcoming album The Great Divide (due Apr. 24), Noah Kahan’s previous chart-topper re-enters the top 10 this week at No. 10.

Super-producer Calvin Harris continues to see gains for his 2024 project 96 Months, which re-entered the top 40 for the first time since September 2025 last week, and has since elevated eight spots to No. 31.