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A
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02
The Canadian Academy of Recording
Arts & Sciences
In
2002,
The
JUNO
Awards
went
on
the
road
to
take
the
music
to
the
fans
and
expanded
its
scope
to
include
a
series
of
public
and
private
events
outside
of
the
Awards
broadcast.
Each
host
city
has
embraced
their
opportunity
to
support
the
JUNO
Awards
and
build
an
enduring
legacy
of
music
programs
in
their
market.
Stephen
Stohn,
chair
of
the
board
of
directors
of
the
Canadian
Academy
of
Recording
Arts
and
Sciences
(CARAS),
has
been
to
most
of
the
awards.
But
his
interest
in
Canadian
music
pre-dates
the
Junos.
Back
in
1964,
he
was
a
teenager
in
high
school
dreaming
of
a
music
career
and
subscrib-
ing
to
RPM
Weekly,
the
national
music
magazine
developed
to
promote
Canadian
music.
How it all started...
hat
started
as
the
RPM
Gold
Leaf
Awards
in
1964
by
RPM
editor
and
publisher
Walt
Grealis
and
record
label
executive
Stan
Klees,
soon
became
The
JUNO
Awards
in
1971.
Named
in
tribute
to
Pierre
Juneau,
the
first
chairperson
of
the
Canadian
Radio-television
and
Telecommunications
Commission
(CRTC),
the
JUNO
Awards
were
founded
to
raise
the
public
profile
and
recognition
of
musical
artists
in
Canada.
The
JUNO
Awards
has
evolved
from
an
industry
awards
event
to
a
weeklong
festival
that
travels
city
to
city
across
the
country.
It
encompasses
both
public-facing
fan
events
and
industry/networking
opportunities
featuring
a
diverse
array
of
Canadian
artists
and
emerging
talent.
In
addition
to
The
JUNO
Awards
Broadcast,
JUNO
Week
event
programming
includes
JUNO
Songwriters’
Circle,
JUNOfest,
JUNO
Fan
Fare,
JUNO
Cup,
and
more.
W
________________________
________________________
From polite
applause to arena
thunder — in a
nutshell, that’s the
progress the Juno
Awards have made
over the past three
decades.
03
February 23, 1970
The JUNO Awards
was originally
named the RPM
Gold Leaf Awards,
created by RPM
Publishers, Walt
Grealis and Stan
Klees.
F
“I
read
about
legendary
figures
in
the
industry
and
I
read
about
these
awards
that
were
starting
up,’’
Stohn
recalled.
Those
awards
were
the
Gold
Leaf
Awards,
which
were
decided
based
upon
a
poll
of
RPM’s
subscribers
to
pick
the
best
in
Canadian
music.
RPM,
which
published
from
1964
to
2000,
was
founded
by
Walter
Grealis,
a
former
police
officer
who
got
into
the
music
industry
in
1960
as
a
record
label
representative.
Grealis,
who
died
in
2004,
was
assisted
by
his
business
partner,
Stan
Klees.
Together
they
lobbied
for
rules
that
would
ensure
that
Canadian
music
was
played
on
the
country’s
radio
stations.
In
1971,
the
CRTC
introduced
“Cancon,’’
the
Canadian
Content
Broadcast
Regulations
under
then-head
Pierre
Juneau,
for
whom
the
Juno
Awards
were
then
named.
March 12, 2000
The Moffatts
hosted and The
JUNO Award
statuette was
redesigned by
artist Shirley
Elford.
04
05
rom
1970
to
1975,
the
Junos
were
a
relatively
staid,
industry-only
event
held
first
at
Toronto’s
St.
Lawrence
Hall
(Klees’
mother
Sabina
made
sandwiches)
and
then
The
Inn
on
the
Park
hotel,
which
has
since
been
torn
down.
The
awards
first
hit
the
airwaves
in
1975
as
a
nationally
broadcast
event
on
CBC.
Paul
Anka
hosted.
“It
was
joyous,’’
Stohn
said
of
the
early
years.
“It
was,
of
course,
small.
It
was
an
industry
gathering.
Everyone
knew
each
other,
which
is
still
the
case
today,
except
the
public
comes.”
Public
involvement
(read:
screaming
fans)
changed
the
course
of
the
Junos,
starting
with
the
first
arena
show
in
the
history
of
the
awards
at
Hamilton
in
1995.
Before,
“there
would
be
polite
applause
and
appreciation
but
not
the
complete
joy
and
exuberance
that
the
fans
can
bring.
It
was
wonderful.
It
was
like
night
and
day
in
terms
of
the
energy.
The
artists
really
loved
it.”
The
change
was
dramatic,
says
Jann
Arden,
who
won
her
first
of
eight
Juno
Awards
in
1994.
“Now
it’s
fans,
it’s
young
kids,
it’s
their
parents,
it’s
older
people,
it’s
people
that
make
it
exciting
for
all
of
us
as
artists.
Because
that’s
what
it’s
all
about.
It’s
about
music.
It’s
about
people
loving
it,
it’s
about
people
attaching
memories
to
songs
and
seeing
their
favourite
artists.
It
breaks
my
heart
to
see
how
excited
they
get.
It’s
so
nice.”
F
Another
key
development
was
sending
the
show
on
the
road.
After
years
in
Toronto,
the
Junos
have
been
a
movable
feast
for
Canadian
music.
But
the
1990s
were
unsettled
times
for
the
awards.
They
ping-ponged
from
Vancouver
in
1991,
to
Hamilton
for
three
years,
then
back
to
Vancouver
and
again
to
Hamilton
before
a
final
year
in
Toronto
and
another
in
Hamilton.
Since
2002,
the
travelling
has
been
more
consistent
—
a
different
city
outside
Toronto
every
year:
St.
John’s,
Ottawa,
Edmonton,
Winnipeg,
Halifax
and
Saskatoon.
Next
year’s
awards
are
in
Calgary.
A
pivotal
year
for
the
event
was
2002,
when
it
was
held
in
easy-to-love
but
hard-to-get-to
St.
John’s.
“I
was
worried
that
we
might
have
trouble
attracting
some
of
the
stars,”
said
Stohn.
“I’m
so
pleased
to
say
it
was
the
exact
reverse.
Artists
were
going
out
of
their
way
to
say
‘that’s
cool.’
”
March 22, 1998
David Foster was
inducted into the
Canadian Music
Hall of Fame. A
backstage telecast
was introduced to
add to the JUNO
Awards website
.
________________________
________________________
The Junos became
both an awards
show and a
unifying force in
Canadian culture.
T
H
E
B
I
G
N
I
G
H
T
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Juno
Awards
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History of the JUNOs
History of the JUNOs
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