Outline of the book


  1. What Is This Book About?
  2. Beginning in the Middle - Mariposa, 1961
  3. The Invention of Folk Music
  4. A Child Shall Lead Them
  5. Canadian Beginnings
  6. Gibbon and the Canadian Mosaic
  7. Red Is The Colour- The Other Mosaic –1900’s-30’s
  8. The Early Labour Song Tradition in Canada
  9. Red Front to Popular Front
  10. New Deal and No Deal
  11. Birth of a Nation
  12. Put Canada First!
  13. People’s Songs and People’s Music
  14. The Golden Age of Canadian Folk Song 1947- 1962- The Beginning
  15. The Emergence of a Repertoire
  16. The First Tour- The UJPO Folksingers
  17. Foreign Affairs
  18. World Music in the Golden Age
  19. Founding Folkies
  20. From Bonavista to the Vancouver Island
  21. Sam Gesser and Folkways Canada
  22. Country and Folk
  23. The “Revival”- Folk as Pop
  24. Mariposa Revisited- The End of the Beginning
  25. The Boom - Early Canadian Folk Professionals and the Marketplace
  26. The Songwriters
  27. East is East and West is West- Halifax, Ottawa, Toronto, Winnipeg, Regina, Calgary, Edmonton, Vancouver & Smaller Towns and Smaller Scenes
  28. Folk Rock
  29. The Real Boom- Folk in the 70’s
  30. The Festivals
  31. The Message in the Music- Political and Social Images in Songwriting and Folk Music in Canada in the 60’s and 70’s
  32. Bigger Than Ever- the 80’s
  33. New World, New Music
  34. The Little Folk- Children and Folk Music
  35. Looking Forward – Looking Backward- Folk Music at the End of the Century and the Beginning of the New Millennium
  36. What Does It Mean
32. Bigger Than Ever- the 80’s

If the 70’s were a decade of massive growth for folk music, the 80’s were even bigger. There was more of everything- more festivals; the emergence of new “stars” including Rita MacNeil, and Loreena McKennitt, each selling hundreds of thousands of records; new writers, new genres of music. Stan Rogers was poised to become a major artist. In Atlantic Canada young players began to explore the traditions unearthed by the folklorists during the first half of the century and reinterpret them. Women artists inspired by the women’s movement and the creation of “women’s music” in the United States entered the field in force. Ferron, Heather Bishop, and Connie Kaldor gained national and international audiences. The Winnipeg Women’s Music Festival demonstrated what a richness there was. Stephen Fearing, James Keelahan, and other new voices began to be heard. The mainstream of the industry began to pay attention for the first time since the 60’s and old issues of the commercial value versus the artistic value of the music began to be raised again.

Copyright © 2008-2015 Gary Cristall. All rights reserved.