Abstract
English-Canadian popular music matured thematically and economically amid the euphoric nationalism of the Centennial era. Ironically, this maturation owed less to the benevolence of the newly-created CRTC and the adulation of the nationalist music press in Canada than it did to the influence of American folk-protest music. Much Canadian pop music in these years appeared stridently anti-American, but, in truth, thoughtful Canadian song-writers like Gordon Lightfoot, Bruce Cockburn, Joni Mitchell, and Neil Young were suspicious of the new Canadian nationalism and profoundly ambivalent about the United States. Revulsion for “official” America and sympathy for American youth combined in the songs of these musicians to produce some of the most poignant pop music of the Sixties generation.
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