Full Description
The Guess Who. Gordon Lightfoot. Joni Mitchell. Neil Young. Stompin' Tom Connors. Robert Charlebois. Anne Murray. Crowbar. Chilliwack. Carole Pope. Loverboy. Bryan Adams. The Barenaked Ladies. The Tragically Hip. Céline Dion. Arcade Fire. K-oS. Feist. These musicians are national heroes to generations of Canadians. But what does it mean to be a Canadian musician? And why does nationality even matter? Canuck Rock addresses these questions by delving into the myriad relationships between the people who make music, the industries that produce and sell it, the radio stations and government legislation that determine availability, and the fans who consume it and make it their own.
An invaluable resource and an absorbing read, Canuck Rock spans from the emergence of rock and roll in the 1950s through to today's international recording industry. Combining archival material, published accounts, and new interviews, Ryan Edwardson explores how music in Canada became Canadian music.
Contents
Introduction - Canadian Music and the Unruly Question of National Identity
Lonely Boys and Wild Girls: Rock and Roll in Canada in the 1950s
Guess Who?: Beatlemania and the Race to be British, 1963-66
From 'Tom Dooley' to 'Mon Pays': Commercialism and Nationalization in Folk Music
Caliornia Dreamin': Why Canadian Musicians were not 'Helpless' in the United States, 1965-70
Turn on, Tun in, and Drop Out': Psychedelic Music and How a Band from the Pairies was Saved by its Wheatfield Soul, 1966-70
Legislated Radio': Industry, Identity, and the Push for Canadian Content, 1965-71
Oh What a Feeling': Canadian Content and Identity Politics in the 1970s
And the Juno Goes To...': Television and the Selling of 'Canadian' Music
Takin' Care of Business': The Multinational Underwriting of the Canadian Music Industry, 1970-2006
Everything I Do (I Do It For Me)': Bryan Adams and the Waking Up the Neightbours Controversy
Conclusion - From 'Music in Canada' to 'Canadian Music'
Bibliography
