There was a time in this country when Canadians didn’t really care about Canadian music...no, wait...let’s start over...

There was a time in this country when Canadians didn’t like Canadian music and did whatever they could to ignore it and pretend it didn’t exist...yeah, that’s more accurate...

There was one exception to this rule: if a Canadian artist received some kind of validation from outside the country—preferably the united states—then suddenly, they were worth paying attention to at home...

It was a mix of insecurity and what I believe are Canada’s two unofficial mottos...the first is “why can’t you be happy with what you have?”...the other is “who do you think you are?...you think you’re better than everyone else?”...
That’s harsh, but it’s true...and for years, ambitious, talented Canadian musicians flowed south to seek their fortune in America...Paul Anka...Neil Young...Joni Mitchell...
And yes, there were those who remained in Canada—Gordon Lightfoot is one...The Guess Who is another—but they really weren’t fully accepted at home until they had a hit in America...suddenly, the attitude swung 180 degrees?... “them?...oh, yeah they’re one of us!”...
This is the way it was for several decades—a frustrating situation for countless musicians...
But then things started to warm up a bit in the 1980s...and by the time the 90s arrived, attitudes towards homegrown talent had swung in the other direction...not only were Canadian music fans loving Canadian bands, Canadian music being heard all over the world...wait—let’s try that again, too...Canadian music was in demand all over the world...
Some have called this the great Can-Rock revolution of the 1990s...and it changed everything...here’s how it all started...
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