It has often been said that conflict and war produce the best art. The Cold War in particular saw a massive shift in cultural and artistic norms. Contributing factors of economic prosperity, a growing middle class, and increasing globalization meant that music was able to develop in ways not previously possible. As radio stations became the main source of news and entertainment for millions at the time, they were able to dictate and capitalize on growing trends and genres.
With the music of the Cold War period, one can find some of the most iconic artists in Canadian history. These artists, often pioneers of their own sound and genres, built a ‘musical mainstream’ and pop culture that was able to help define a Canadian cultural identity. This music reflects the climate it was made in, and different genres emerged in response to different events and politics.
Step into the sonic landscape of the Cold War era as you listen to our two new playlists that feature genres defining the musical scene of the time: country and punk. Through these Spotify playlists, you will learn about the influences and cultural significance these genres had during the Cold War — they will also provide a unique accompaniment to your walk through history at the Diefenbunker!
Blue Corn Radiation
>> Listen to the playlist here
Origins
The history of country music in Canada is largely tied to the rise of blues music, both in terms of commercial ventures and thematic inspiration. These genres have their roots in isolated, rural communities of the working class, something that allowed many distinct regional variations to form in the genres. In the post-war era, with the widespread use of radio and the rapid formation of a music pop culture, blues became a force to be reckoned with on the air waves.
While much of Canadian radio play was by American artists, that certainly didn’t stop Canada from producing its own fair share of icons. King Biscuit Boy, Don Messer, and a host of other performers made their name on the radio as pioneers of the country genre in Canada. At its roots, early country music blended a variety of genres including blues, folk, and traditional hymns. This gave it a very distinct sound on the radio and distinguished it from much of the other music of the time. While it’s hard to say if this contributed to its success or not, it certainly gave a significant level of creative freedom to its artists, who often sounded completely different from one another despite all falling under the umbrella of ‘country music’.
An Evolving Medium
In the 1970s and 80s, studios began to look for a more ‘modern’ sound for country, leading to many artists moving away from the more folk and blues aspects of the sound. In its place, pop-country emerged as the more popular sound. This change was not just isolated to Canada either, with many American country-folk artists adopting a more pop sound in the hopes it would help their careers.
While this was certainly a difficult time for Canadian musicians as they were often overshadowed by American artists, 1970 also saw the implementation of Canadian Content Radio guidelines. From then on, stations had quotas to meet on the amount of Canadian content they aired. This helped shape the careers of many distinctly Canadian icons, such as Stompin’ Tom Connors. Outside of Canada, they may not have seen too much success, but within Canadian stations, they became household names and representatives of the new pop-country genre.
Legacy
Country has established itself as a mainstay of Canadian pop culture. Canadian artists have also expanded outside of Canada and become some of its most recognizable celebrities — Gordon Lightfoot, Hank Snow, and, more recently, Shania Twain and Brett Kissel have all made a name for themselves as internationally renowned country artists. While it might have lost some of its instrumental roots in exchange for a more pop sound, country music remains one of the most dominant genres across Canada, and nothing can take away from the fact that many Canadians, both then and now, tune in daily to listen to it.
For the Kids and the Punks
>> Listen to the playlist here
There is no denying just how much British punk took off as a genre in the 1970s. Coming out of the British Invasion with The Beatles and The Rolling Stones, it seemed logical that British music would have a presence in Canadian and American pop culture. What wasn’t expected was the overtly political tone much of it would take.
Cold War politics had invariably polarized most countries. In an effort to separate themselves from the USSR and the accusations of communism, many of the NATO countries pushed themselves further right, both socially and economically. This ended up causing a divide between national politics concerned with the Cold War and working-class politics that were closer to socialist or left-wing ideals. In the UK in the 1960s and 70s, the Labour Party rose in popularity, which conflicted with the largely conservative government. Among the youth, resistance to traditional conservative values was admired, and a pop culture based around radical political action and denouncing authority became sought after.
It was in this political state that punk emerged as a genre advocating for anti-establishment politics and, often, a rise in working-class solidarity. Self-published albums, raw or ‘unfinished’ sound, and a lack of concern for marketability became staples of the genre and its artists. The Sex Pistols, famous for challenging British censorship by using banned words in song and album titles, became the face of punk in the UK after their inception in 1975. In the United States, it was The Ramones who first introduced the punk sound to New York City in 1974.
While the term ‘punk’ is typically used in reference to the music genre, the anti-establishment sentiments it held ran deep through much of British pop culture. Into the 1980s, artists of all mediums began to adopt what could be called punk undertones. Alan Moore, one of the most influential graphic novelists of all time, wrote many of his most renowned books during this time and drew heavily from punk influences. V For Vendetta advocates for anarchist politics, while The Watchmen calls for more government transparency and an end to elitist politics.
Today, punk music has evolved beyond its political roots, and the pop-punk of the 2000s has certified its position as a mainstream genre. In indie and self-published circles, anti-establishment politics still persist, but they are now just a small part of the genre as a whole. The staple bands of the 1970s and 80s are still remembered, however, as political messengers and pioneers of a new sound, and they are symbolic for many people who grew up in the Cold War.
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