INTRODUCTION TO RPM MAGAZINE RPM Magazine was published more-or-less weekly from February 1964 to November 2000. Walt Grealis, the founder, served as editor of the magazine from its first edition till its last. Stan Klees is considered the magazine's co-founder, since it was originally his idea, though he actually came on board a little bit later. The title of the magazine stands for "Records, Promotion, Music" - though it is of course a familiar acronym to any record player user. From its humble beginnings as essentially a mimeographed newsletter to its final years as a full-colour glossy, RPM was a trade journal for the Canadian music industry. In this position, it liaised between Canadian record companies and Canadian radio stations, and it reported on the dealings of both (plus recording studios, record pressing plants, music promotion agencies and of course the artists themselves). But its greatest legacy is probably its position as an indomitable cheerleader for Canadian music and key developer of a Canadian music industry. It is this role that fascinates me most about the magazine. The Canadian music industry didn't, of course, pop into existence in 1964 alongside this trade journal. But the piecemeal, scattered, small-time nature of the industry is clearly visible on the early pages of the magazine - as is, of course, the ever-constant sense of inferiority vis-à-vis the USA and the UK. Watching the plucky Canadian record industry develop over the pages of this magazine is an enjoyable exercise and a source of pride. Inasmuch as a nation is defined by its culture, RPM Magazine was an exercise in nation-building just as much as, say, the laying of the Canadian Pacific Railway or the repatriation of the Constitution. RPM's legacy is threefold: first is its role (alongside CARAS) in the establishment of the Juno Awards, Canada's annual music awards. Second is its role in the establishment of the MAPL system, which is fundamental to Canada's CanCon legislation, about which I will have much to say when the time comes. Third is its establishment of weekly national music charts, comparable to the charts published in the USA by Billboard Magazine. It's possible to think of RPM as "Canada's Billboard" (though, like Billboard in the USA, it wasn't the only national music chart). These charts are, of course, the focus of this thread.