Canadian Music Of The 1950s

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.

In 1942, the Canadian government forced more than 21,000 Japanese Canadians from their homes in British Columbia. They were told to bring only one suitcase each and officials vowed to protect the rest. Instead, Japanese Canadians were dispossessed, all their belongings either stolen or sold. The definitive statement of a major national research partnership, Landscapes of Injustice reinterprets the internment of Japanese Canadians by focusing on the deliberate and permanent destruction of home through the act of dispossession. All forms of property were taken. Families lost heirlooms and everyday possessions. They lost decades of investment and labour. They lost opportunities, neighbourhoods, and communities; they lost retirements, livelihoods, and educations. When Japanese Canadians were finally released from internment in 1949, they had no homes to return to. Asking why and how these events came to pass and charting Japanese Canadians' diverse responses, this book details the implications and legacies of injustice perpetrated under the cover of national security. In Landscapes of Injustice the diverse descendants of dispossession work together to understand what happened. They find that dispossession is not a chapter that closes or a period that neatly ends. It leaves enduring legacies of benefit and harm, shame and silence, and resilience and activism.

In the 1950s and ’60s, co-operative jazz clubs opened their doors in Canada in response to new forms of jazz expression emerging after the war and the lack of performance spaces outside major urban centres. Operated by the musicians themselves, these hip new clubs created spaces where jazz musicians practised their art. Live at the Cellar looks at this unique period in the development of jazz in Canada. Centered on Vancouver’s legendary Cellar club, it explores the ways in which these clubs functioned as sites for the performance and exploration of jazz as well as for countercultural expression. Jago combines original research with archival evidence, interviews, and photographs to shine a light on a period of astonishing musical activity that paved the way for Canada’s vibrant jazz scene today.

THE HISTORY OF CANADIAN ROCK 'N' ROLL

Mapping Canada’s Music is a selection of writings by the late Canadian music librarian and historian Helmut Kallmann (1922–2012). Most of the essays deal with aspects of Canadian music, but some are also autobiographical, including one written during retirement in which Kallmann recalls growing up in a middle-class Jewish family in 1930s Berlin under the spectre of Nazism. Of the seventeen selected writings by Kallmann, five have never before been published; many of the others are from difficult-to-locate sources. They include critical and research essays, reports, reflections, and memoirs. Each chapter is prefaced with an introduction by the editors. Two initial chapters offer a biography of Kallmann and an assessment of his contributions to Canadian music. The variety, breadth, and scope of these writings confirm Kallmann’s pioneering role in Canadian music research and the importance of his legacy to the cultural life of his adopted country. In the current climate of cuts to archival collections and services, the publication of these essays by and about a pre-eminent collector and historian serves as a timely reminder of the importance of cultural memory.

The music world exploded into Technicolor on February 9, 1964, when the Beatles appeared on the Ed Sullivan Show and ignited the music phenomenon dubbed “The British Invasion”. In the weeks and months to come, hundreds, perhaps thousands, of Ottawa teenagers put away their hockey sticks and picked up guitars, starting up bands in basements and garages, with visions of screaming girls and stardom dancing in their heads. For some, that dream came true, in packed High School Gymnasiums, Church basements, bowling alleys and every other venue they could find. Groups were working three or four nights a week on both sides of the Ottawa River. The Esquires, The Staccatos, The Townsmen, Don Norman and the Other Four and many others cut records that were as good as anything coming out of Britain or the States. DJ's Gord Atkinson, Nelson Davis and Al "Pussycat" Pascal make them stars by playing their records. Sandy Gardiner followed their exploits in his weekly "teen" column in the Ottawa Journal, and we checked out the weekly "Swing Set" to get the lowdown on the newest groups. From the day Elvis Presley came to town in 1957, to the release of The Five Man Electrical Band’s mega-hit “Signs”, we relive those memories with the bands, the clubs, the concerts and the colorful cast of characters who made it happen. Pull back the curtain on the magic of "Ottawa’s Golden Age of Rock and Roll”,