Palaeopigment accumulation and implcations for paleolimnology over the lost century for two Ontario lakes

Crawford Lake is a meromictic lake, which is 24 m deep and has an area of 2.5 ha, and has never been reported to have mixed below 16 m. Lady Evelyn Lake, which became a reservoir when a dam was built in 1916, is dimictic with a maximum depth of about 35 m. 1 My research proved that both native chlorophylls and the ratio of chlorophyll derivatives to total carotenoids were better preserved in the shallower lake (Crawford Lake) because it was meromictic. Thus the anaerobic conditions in Crawford Lake below 16 m (monimolimnion) provide excellent conditions for pigment preservation. Under such conditions, the preservation of both chlorophylls and carotenoids, including oscillaxanthin and myxoxanthophyll, are extremely good compared with those of Lady Evelyn Reservoir, in which anaerobic conditions are rarely encountered at the mud-water interface. During the period from 1500 to 1900 A. D. in Crawford Lake, the accumulation rates of oscillaxanthin and myxoxanthophyll were extremely high, but those of chlorophyll derivatives and total carotenoids were relatively low. This was correlated with the presence of a dense benthic mat of cyanobacteria near the lake's chemocline. Competition for light between the deep dwelling cyanobacteria and overlying phytoplankton in this meromictic lake would have been intensified as the lake became more and more eutrophic (1955-1991 A. D.). During the period from 1955 to 1991 A. D., the accumulation rates of chlorophyll derivatives and total carotenoids in the sediment core from Crawford Lake (0-7.5 cm, 1955-present) increased. During this same period, the accumulation rates of cyanobacterial pigments (Le. oscillaxanthin and myxoxanthophyll) declined as the lake became more eutrophic. Because the major cyanobacteria in Crawford Lake are benthic mat forming Lyngbya and Oscillatoria and not phytoplankton, eutrophication resulted in a decline of the mat forming algal pigments. This is important because in previous palaeolimnological studies the concentrations of oscillaxanthin and myxoxanthophyll have been used as correlates with lake trophic levels. The results of organic carbon a13c analysis on the Crawford Lake sediment core supported the conclusions from the pigment study as noted above. High values of a13c at the depth of 34-48 cm (1500-1760 A. D.) were related to a dense population of benthic Oscillatoria and Lyngbya living on the bottom of the lake during that period. The Oscillatoria and Lyngbya utilized the bicarbonate, which had a high a 13C value. Very low values were found at 0-7 cm in the Crawford sediment core. At this time phytoplankton was the main primary producer, which enriched 12C by photosynthetic assimilation.

'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.

Warren Hartman fonds, 1970, 1972-1996, 1998, n.d.

Warren Hartman was born in 1942 in Toronto, Ontario. He received a B.A. in Fine Arts and Drama from Brock University in 1981 and a Masters of Arts in Humanities at the State University of New York at Buffalo in 1987. In the 1950s he did considerable work as a child-actor both in theatre and television. From 1953 to 1961 he was in the New Play Society under the direction of Dora Mavor Moore. His last two years there were spent as a scholarship student. From 1963 to 1966 he did an apprenticeship with Suzanne Mess, Head of Costume Design at The Canadian Opera Company in Toronto. In 1976 Warren attended a Master Class in Scenography at the Banff School of Fine Arts with Josef Svoboda. In the spring of 1970 Warren was a guest designer at Brock University and from 1970 to 1972 he remained at Brock as resident designer and special lecturer. During this time he was also an instructor and costume designer at Sheridan College in Oakville. It was in 1972 that he became the designer-in-residence at Brock University. From 1984 he held the position of Associate Professor at The Department of Fine Arts at Brock University until the fall of 1996. Some of the highlights of Warren’s career also include: stage managager with the Street Hat Players in Port Carling, Ontario, 1960-1961; a freelance designer for over 100 shows; costume coordinator(production manager) for the Canadian Opera Company, 1964 -1970; resident costume designer for The Canadian Opera Company, 1965- 1970; founder and artistic director of Dei Gelosi Campagnia, St.Catharines, Ontario, 1970-1973; freelance director of some thirty-five shows; co-producer for Quebec City Summer Stock Company, Quebec City, Quebec, 1975; a consultant with Alberta Culture for the Provincial Government of Alberta, 1986-1987 and associate artistic director at Theatre Network, Edmonton, Alberta, 1986-1987. Warren Hartman was the recipient of the Jean Chalmers Award for contributions to Canadian Theatre for persons 25 years of age or under, in 1965. He was a founding member of Associated Designers of Canada and was affiliated with Canadian Actors Equity. Warren Hartman died on Feb. 11, 1998 several days after suffering a massive stroke. A memorial service was held at Brock University in May of 1998 and a bursary fund was established in his name.

Inniskillin fonds, 1970-2014, n.d.

Inniskillin Wines was founded by Karl Kaiser and Donald Ziraldo in 1975 in Niagara-on-the-Lake, Ontario. They had met the previous year, when Karl Kaiser, a winemaker and chemist, purchased some grapes from Donald Ziraldo, who owned and operated Ziraldo Nurseries. The two shared a vision of producing better quality Canadian wines and formed a partnership, with Kaiser making the wine and Ziraldo serving as company President. In 1975, they were granted a winery license by the LCBO, the first one granted since 1929. The company name Inniskillin was derived from the Inniskilling Fusilliers, an Irish regiment whose Colonel once owned the land that Ziraldo Nurseries occupied. This was the original site of the winery, although in 1978 the winery moved to the Brae Burn Estate, their current location. In 1982 the winery expanded by 50 acres with the addition of the Montague Vineyard, and another 50 acres was acquired in 1991. The Niagara-on-the-Lake vineyard produces single vineyards bottlings of Chardonnay, Pinot Noir, Merlot and Pinot Grigio/Pinot Gris. In 1984, Karl Kaiser began producing icewine from Vidal grapes frozen naturally on the vine. Inniskillin garnered international acclaim for the quality of their icewines, receiving the prestigious Grand Prix d’Honneur at VinExpo in 1991, for their 1989 Vidal icewine. This established Inniskillin as a producer of world class wines, while also raising the profile of Canadian wines in general. The company branched out their operations, first acquiring vineyards in the Napa Valley in 1989 to form Inniskillin Napa (producing wines under the Terra label), and in 1994 establishing Inniskillin Okanagan in the Okanagan Valley in British Columbia. The Napa valley venture ceased in the mid 90’s, while Inniskillin Okanagan continues to operate. In 2006, Karl Kaiser and Donald Ziraldo left Inniskillin. Kaiser retired, while Ziraldo became chair of the Vineland Research and Innovation Center (2006-2011), and remains involved in the wine industry. In 2007, Bruce Nicholson joined Inniskillin as winemaker. Nicholson continues to produce award-winning wines under the Inniskillin label, receiving the top award, the Premio Speciale Gran Award, at Vinitaly 2009 for his 2006 Gold Vidal and his 2006 Sparkling Vidal Icewine. In 2012, he received several awards for the 2008 Riesling Icewine, including gold at the International Wine and Spirits Competition in London, UK, the San Francisco International Wine Championships, and Selections Mondials des Vins Canada.

Donald Ziraldo Fonds, 1968-2012, n.d.

Donald J. P. Ziraldo, C.M., BSc., LLD was born in St. Catharines, Ontario on October 13, 1948 to Fredrick and Irma (Schiratti) Ziraldo. He graduated Denis Morris High School in St. Catharines in 1967, and received his B.Sc. in Agriculture at the University of Guelph in 1971. In 1974, Ziraldo was running Ziraldo Nurseries when he met Austrian born schoolteacher, chemist and winemaker Karl J. Kaiser. They realized that there was a gap in the premium varietal wine market and decided to plant a premium traditional European variety of grape vine species, the Vitis vinifera. This was an innovation in the Niagara region because the current wine producers were not using premium European grapes at the time. Ziraldo and Kaiser founded and then formally incorporated Inniskillin Wines Inc. in Niagara-on-the-Lake, Ontario on July 31, 1975. Ziraldo successfully lobbied General George Kitching, CEO of the LCBO, for a winery license. In 1975, Kitching granted him a winery license, the first in Ontario since Prohibition ended. From the beginning, there was a division of labour where Kaiser focused on the winemaking and Ziraldo focused on the marketing and promotion of the wines. Ziraldo also became president of the company. Ziraldo and Kaiser worked on improving their winemaking techniques and promoting their products and company. Ziraldo has been called ‘one of the founding fathers of the Canadian wine industry’, and it is widely acknowledged that both men played a large role in the success and growth of the Canadian wine industry. Together they pioneered the estate winery movement in Canada. A major turning point Inniskillin came in 1984 when Karl Kaiser successfully harvested the first Icewine crop from frozen grapes on the vine and bottled Eiswein Vidal (Icewine). In 1990, Inniskillin received worldwide recognition for this Icewine when their 1989 Vidal Icewine won the most prestigious award in the wine world, the Grand Prix d’Honneur, given at Vinexpo in France. This victory has been called ‘the award heard round the world’ and it launched Inniskillin into the international wine arena. At the same time, this helped lift the profile of Canadian wines in general. Inniskillin not only became Canada’s leading producer of Icewine, but it also became known for producing ‘one of the world’s great wines’. After the 1990 award, Ziraldo began a major public relations campaign to promote Inniskillin and build Icewine into a worldwide brand. He travelled broadly every year to promote the brand and products and networked extensively with politicians, celebrities, chefs, sommeliers, etc. To ensure worldwide and long-term success, Ziraldo introduced Icewine to Asia and the United States which were new markets. He developed a new Icewine glass with George Riedel. Tony Aspler has called Ziraldo ‘Canada’s Wine Ambassador’. Ziraldo was President of Inniskillin Wines Inc. (Niagara) from 1975 to 2006. In 1992, Inniskillin merged with Cartier Wines, and in 1993 Cartier Inniskillin Vintners Inc. merged with T.G. Bright & Co. Limited, forming the new company Vincor International Inc. Inniskillin wines was now a subsidiary of Vincor. Ziraldo became a Director at Vincor International Inc. from 1993 to 2004. From 1989 to the mid 1990s, Ziraldo also became President of Inniskillin Napa, in Napa Valley, California. Inniskillin purchased Napa Valley vineyards and produced wines under the Terra label. In 1994, Ziraldo set up a subsidiary estate winery of Inniskillin in Oliver, British Columbia which was called Inniskillin Okanagan Vineyards Inc. He became President of the winery. This started as a partnership between Inniskillin and the local Inkameep Indian Band in the Okanagan. In 2006, Ziraldo left Inniskillin and since that time he has been involved in other Icewine related ventures such as running Ziraldo Estate Winery and producing Ziraldo Riesling Icewine 2007. He also is in partnership with the Niagara based Equifera Estate Winery to produce Equifera Icewine. His most recent projects include planting Picolit grapes in his parent’s hometown, in a project called Picolit Di Fagagna and becoming Managing Director of the Senhora Do Convento Port Winery in Portugal. Donald Ziraldo was instrumental in the creation of the Vintners Quality Alliance (VQA) in Ontario and was its founding Chair from 1988-1995. The VQA was established as a regulatory and appellation system which secured the quality and origin of Canadian wines made under this system. The VQA designation and bottle label gave the consumer confidence that the wines they were purchasing were 100% local products. The VQA system was set up first in Ontario and then in British Columbia.

Stelco records, 1951-1989

The Steel Company of Canada (Stelco) was formed in 1910 with the incorporation of the Canada Screw Co. Ltd., the Montreal Rolling Mills Co., the Dominion Wire Manufacturing Co. Ltd., the Hamilton Steel and Iron Co. Ltd., and the Canada Bolt and Nut Co. Ltd. By the 1920s, the company was the largest producer of steel ingots in Canada. The 1930s saw continued success and expansion of the company as Stelco increased its iron and steel capacity by 50 percent. The company continued to prosper throughout the next several decades, with sales revenues exceeding one billion dollars in 1974. In 1980, the company officially changed its name to Stelco, in order to simplify its name in both the French and English language. The company began to experience financial difficulties beginning with the recession in 1982. The troubles persisted for the next 25 years as a result of a decreased demand for steel, labour disputes, and high steel imports. In 2004, Stelco entered bankruptcy protection. By 2007, Stelco had lost $240 million in its first four quarters after emerging from bankruptcy protection. That same year Stelco was purchased by the United States Steel Corp. Despite efforts to restructure the company, bankruptcy was again declared in 2014.

Transferring Results of Behavioral Research to Industry to Improve Animal Welfare on the Farm, Ranch and the Slaughter Plant

The article focuses on three results of the study: "(1)Communicate your results outside the research. Write articles in popular and industry magazines. Speak at producer meetings and develop websites that can be used to transfer research results into practice. (2) Choose places (e.g. farms or plants) that have managers who believe in your research, and be prepared to spend a lot of time with the first place that uses your findings. (3) to fail. (4) Do not allow your technology to get tied up in patent disputes."

'Art is the New Steel': Marketing Creative Urbanism in Twenty-First Century Hamilton, Ontario

As a major manufacturing hub in southern Ontario, Hamilton enjoyed considerable economic stability during the twentieth century. However, like most industrial-based cities, Hamilton’s role as a North American manufacturing producer has faded since the 1970’s. This has resulted in dramatic socio-economic impacts, most of which are centered on the inner city. There have been many attempts to revive the core. This includes Hamilton’s most recent urban renewal plans, based upon the principles of Richard Florida’s creative city hypothesis and Ontario’s Places to Grow Act (2005). Common throughout all of Hamilton’s urban renewal initiatives has been the role of the local press. In this thesis I conduct a discourse analysis of media based knowledge production. I show that the local press reproduces creative city discourses as local truths to substantiate and validate a revanchist political agenda. By choosing to celebrate the creative class culture, the local press fails to question its repercussions