By Kaitlin Wainwright
Last Wednesday, Canada lost its “national troubadour”, an “icon”, and “one of [its] most prolific and well-known country and folk singers”; a man who ranked 13th in CBC’s The Greatest Canadian list. Stompin’ Tom Connors is credited with writing three hundred songs, many of which are loudly and proudly Canadian. Upon his death, online tributes poured in from the CBC, politicians of all stripes, and even Sir Wilfrid Laurier’s fake Twitter account. NDP Members of Parliament paid tribute to Stompin’ Tom outside the House of Commons with their rendition of “Bud the Spud”. The Globe and Mail suggested that the mainstream media “patronized him as a novelty singer” and questioned whether he was given enough attention during his life. Everyone seemed to have a different story of their experience with Stompin’ Tom, but they were all general positive and “pro-Canadian”.
Let me tell you my Stompin’ Tom story: I grew up in a non-musical family. My earliest experience of his music was when I was twenty, in a second-year Canadian history course, where Big Joe Mufferaw and the NFB’s Log Drivers’ Waltz were used as part of lessons on logging. The lens that I was given to look at him through was one of myth and memory, and the building of nationhood. I never made an emotional connection with his music, and in his death my recollection of his life’s work is maybe, therefore, more easily critical in nature. Continue reading