RPM Weekly on February 24, 1964, to its final issue on November 13, 2000, RPM was the defining charts in Canada. The American and British counterculture explosion and hippie movement had diverted music to that which was dominated by socially and American politically incisive lyrics by the late 1960s. The music was an attempt to reflect upon the events of the time – civil rights, the war in Vietnam and the rise of feminism. This led to the Canadian government passing Canadian content legislation to help Canadian artists. On January 18, 1971, regulations came into force requiring AM radio stations to devote 30 percent of their musical selections to Canadian content. Although this was (and still is) controversial, it quite clearly contributed to the development of a nascent Canadian pop star system. With the introduction in the mid-1970s of mainstream music on FM radio stations, where it was common practice to program extended performances, musicians were no longer limited to songs of three minutes' duration as dictated by AM stations for decades. Other notable musicians who have been one of the largest Canadian exports include the progressive rock band Rush, Triumph and Bryan Adams. In the classical world, homegrown talent Canadian Brass was established in Toronto in 1970. Country music remained popular in Canada in the 1970's thanks to the CBC's The Tommy Hunter show and the adult contemporary radio format which benefited the international stardom of Anne Murray. However, the more mainstream sound would hinder Stompin' Tom Connors until he would have a revival in the 1990's. Canada's first nationwide music awards began as a reader poll conducted by Canadian music industry trade magazine RPM Weekly in December 1964. A similar balloting process continued until 1970 when the RPM Gold Leaf Awards, as they were then known, were changed to the Juno Awards. The Canadian Academy of Recording Arts and Sciences held the first Juno Award ceremony in 1975. This was in response to rectifying the same concerns about promotion of Canadian artists that the Canadian Radio-television and Telecommunications Commission had. Canadian music changed course in the 1980s and 1990s, the changing fast-paced culture was accompanied by an explosion in youth culture. Until the mid-1960s, little attention was paid to music by Canadian daily newspapers except as news or novelty. With the introduction during the late 1970s of the "music critic", coverage began to rival that of any other