The MAPL Test

Hosts Chris Berube and Max Collins discuss how Canada, despite its relatively small population, punches well above its weight in the global music industry. They explore how many famous artists are secretly Canadian and introduce CanCon, a controversial government policy that helped build the nation's music scene.

This segment explores the historical struggles of the Canadian music industry in the 1950s and 1960s, when local artists faced intense bias and often had to relocate to the United States or pretend to be British to get radio play. It highlights how bands like The Guess Who navigated these challenges, and how national events like Expo 67 in Montreal eventually sparked a wave of Canadian pride and cultural identity.

In 1970, Canada's cultural regulator, the CRTC, introduced Canadian content (CanCon) regulations requiring radio stations to play 30% Canadian music. To define what qualified as Canadian, they created the MAPL system, which evaluated songs based on music, artist, performance, and lyrics. Despite the patriotic intent, commercial radio stations initially resisted the rules, preferring established American hits.

This segment explores the early workarounds and loopholes of Canada's CanCon regulations, including how American artists like Elvis Presley qualified for Canadian content quotas while actual Canadian stars like Bryan Adams were disqualified due to international collaborations. Despite initial resistance and flaws, the system eventually began to foster a domestic music industry.

This segment explores how Canada's CanCon regulations successfully fostered a thriving domestic music industry, enabling local artists to build sustainable careers. It highlights success stories like Corey Hart, The Tragically Hip, and Sloan, and notes how other countries eventually adopted similar local content quotas.

This segment explores the unintended consequences of Canada's CanCon regulations, including an inferiority complex among Canadian musicians and the tokenization of artists. While public funding grants are highly praised, critics point out that the system disproportionately benefits white rock bands and fails to represent indigenous and BIPOC musicians.

The segment discusses the limitations of Canada's MAPL system and CanCon regulations in the streaming era, highlighting Spotify's resistance to regulation. It introduces the Online Streaming Act, which attempts to tax streaming platforms, and reflects on the future of Canadian music and artists like Gordon Lightfoot and Wolf Parade.

Hosts Chris Berube and Max Collins discuss how Canadian content (CanCon) regulations apply to television broadcasting. They explain how networks utilize local spin-offs of popular international franchises, such as The Amazing Race Canada, to satisfy prime-time quotas, and highlight the necessity of public funding for breakout hits like Schitt's Creek.

Host Chris Berube and guest Max Collins wrap up their discussion on Canadian content regulations and how everyday people can support the arts. Chris shares credits for the episode, thanking the production team, and highlights a special Canadian music playlist curated by Max.