Academic Proof That Canadians Had a Massive Musical Inferiority Complex Until at Least 1995
For the first decade-and-a-half of rock’n’roll’s existence, there wasn’t much of a Canadian music industry. We lacked all the basic infrastructure: recording studios, proper managers, promoters, venue operators and all the back end necessary to support musicians. While there were Canadian record labels, most were either underfunded indie companies or mere branch plants of foreign entities.
If you were a Canadian with any talent and ambition, you had to leave the country if you wanted a shot at success. Neil Young, Joni Mitchell, The Band, Leonard Cohen and many others were forced to take that route. Everyone else had to make do with whatever meager resources Canada had to offer.
It wasn’t until the Cancon rules came into effect in 1971 that things began to change. Sure, Cancon was designed to build Canadian music culture, but it was also an industrial strategy. By mandating that radio allocate 30% of its playlists to Canadian artists, a cascading series of events began. Recording studios were built. Foreign record labels bulked up their domestic operations. People got serious about concert promotion, running venues and managing artists.
It was a painful but necessary process that took another fifteen years to start consistently bearing fruit. And during those building years, most Cancon was considered to be inferior music from beyond our borders. We disdained it.
For years, our unofficial national mottos could be summed up like this: “Why can’t you be happy with what you have?” and “Who do you think you are?” Any attempt at establishing a domestic star system outside of Quebec was met with derision. It was only after an act found success in the US–the ultimate form of validation–that Canadians decided the act was worth embracing domestically.
Canadian radio was especially guilty of dissing Cancon. Domestic tracks were often edited down to a fraction of their intended running length and ghettoed to between 10 pm and midnight, the so-called “beaver hours.” Playing Canadian music was seen as a necessary evil, quotas to be met to fulfill the terms of a broadcast license.
For example, when a record label serviced a new 45 to radio stations, they left out the name of the band on the label, writing only “Guess Who?” to camouflage the act’s Canadianness. When the record got good reviews and started taking off, it was revealed that the group was actually Winnipeg’s Chad Allen and the Expressions. After the successful feint by their label, though, they adopted the name “Guess Who.”
And to be honest, a lot of what was forced on us in the 70s and 80s was awful. It was nowhere near as good or produced as well as foreign music. There were plenty of exceptions, but overall, playing any Cancon was a grudge spin.
It wasn’t just radio, either. Matt Capel wrote a master’s thesis in 2007 on how the Canadian inferiority complex, nationalism and print coverage contributed to the negative attitude towards Canadian music between 1967 and 1995.
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