Indenture between William and Ann Waters and William B. Winterbottom

Indenture of mortgage with dower between William and Ann Waters of Niagara to William B. Winterbottom of Niagara regarding the easterly half of Lot no. 265 in Niagara. This was recorded in the Register of Forms of Niagara on April 13, 1850, Book A, folios 207-208 - instrument no. 2093, April 1, 1850.

Indenture between Owen Clifford and Margaret Clifford to John Charles Rykert and William B. Gilleland

Indenture of mortgage deed between Owen Clifford and Margaret Clifford of the Township of Grantham to John Charles Rykert and William B. Gilleland of St. Catharines regarding parts of Lots no. 10 and 11 in the 9th Concession of the Township of Grantham. Registered in the Township of Grantham Register on September 15, 1870 - instrument no. 804 and registered in the Township of Grantham Register of February 8, 1872 - instrument no. 1104, September 15, 1870.

'What ever happened to breakdancing?' : transnational b-boy/b-girl networks, underground video magazines and imagined affinities

In 1997, Paul Gilroy was able to write: "I have been asking myself, whatever happened to breakdancing" (21), a form of vernacular dance associated with urban youth that emerged in the 1970s. However, in the last decade, breakdancing has experienced a massive renaissance in movies (You Got Served), commercials ("Gotta Have My Pops!") and documentaries (the acclaimed Freshest Kids). In this thesis, 1 explore the historical development of global b-boy/bgirl culture through a qualitative study involving dancers and their modes of communication. Widespread circulation of breakdancing images peaked in the mid-1980s, and subsequently b-boy/b-girl culture largely disappeared from the mediated landscape. The dance did not reemerge into the mainstream of North American popular culture until the late 1990s. 1 argue that the development of major transnational networks between b-boys and b-girls during the 1990s was a key factor in the return of 'b-boying/b-girling' (known formerly as breakdancing). Street dancers toured, traveled and competed internationally throughout this decade. They also began to create 'underground' video documentaries and travel video 'magazines.' These video artefacts circulated extensively around the globe through alternative distribution channels (including the backpacks of traveling dancers). 1 argue that underground video artefacts helped to produce 'imagined affinities' between dancers in various nations. Imagined affinities are identifications expressed by a cultural producer who shares an embodied activity with other practitioners through either mediated texts or travels through new places. These 'imagined affinities' helped to sustain b-boy/b-girl culture by generating visual/audio representations of popularity for the dance movement across geographical regions.

Photograph - William Bliss Carman and Miss M. B. Stevenson, September 1927

A photograph of poet William Bliss Carman and M. B. Stevenson in New Canaan, Connecticut. The photograph from September 1927 was sent to fellow poet Ethelwyn Wetherald in 1932. It was included in a four page letter from Carman to Wetherald. Carman, also Canadian, spent most of his years in the United States, but in his letter he mentions that he "regrets" he cannot keep in closer touch with his fellow Canadian poets.