A recent visit to the Canadian Museum of History has left one Ottawa resident deeply disappointed, accusing the institution's "Retro" exhibition of largely ignoring the capital's own rich musical heritage from the 1960s to the 1980s.
A Glaring Omission in the Nation's Capital
In a letter published on January 15, 2026, Jean-Pierre Allard of Orléans expressed his frustration after attending the exhibit with his wife. While he acknowledged that the nostalgia trip through the 60s, 70s, and 80s would appeal to music lovers of that era, he argued the display might as well have been located in a small town like Laflèche, Saskatchewan, or Richibucto, New Brunswick, for all the attention it paid to Ottawa.
Allard pointed out that Ottawa has a musical history deep enough to have attracted international stars for generations. Yet, this legacy was conspicuously absent from an exhibition sitting just across the river from Parliament Hill.
Overlooked Icons and Landmark Venues
The letter detailed a significant list of omissions that amounted to a "slap in the face" for local music history. While the exhibit included a small picture of Paul Anka—who first put Ottawa on the map in the mid-50s with his hit "Diana"—it failed to mention numerous other pivotal figures and places.
The Esquires, the first recipients of the RPM award (a precursor to the Juno), were not included. Also missing was The Staccatos, a Beatles-influenced band that later evolved into the Five Man Electrical Band, famous for the classic rock anthem "Signs."
The exhibition overlooked legendary venues like the Capitol Theatre, famed for a Jimi Hendrix performance, and the influential Le Hibou Coffee House, which hosted artists like Joni Mitchell. Perhaps most egregiously, according to Allard, was the failure to acknowledge the vast contributions of the late music impresario Harvey Glatt, a foundational figure in Ottawa's music scene.
From Alanis to Iran: Broader Concerns Raised
The critique didn't stop there. Allard noted that the exhibit also seemed to "conveniently forget" Alanis Morissette, who began her career in the 1980s before achieving global fame in 1995 with her "Jagged Little Pill" album. This oversight occurred while artists like Carol Pope, Trooper, and Chilliwack—who are not from Ottawa—received several displays.
Allard's letter was part of a series published that day in the Ottawa Citizen. Another letter addressed a completely different but pressing issue: the perceived lack of Canadian media coverage on the protests in Iran. A Canadian-Iranian citizen, who has lived in Canada for over 30 years, expressed deep concern that the peaceful protests and brutal crackdowns in Iran were receiving "little to no coverage" in Canadian news outlets, despite the ongoing crisis.
Together, these letters highlight a dual theme of omission—one cultural and local, the other international and humanitarian—sparking conversation about what stories and histories are prioritized for public attention.
