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Warwick Publishing was established by James Williamson in 1990 as a producer of books for other publishers. Its mandate expanded in 1992, when Warwick published its first seven titles. Five years later, the company's annual report announced its intention to expand into other fields, including magazines, music, electronic publishing, and newspapers. Music came first with the creation of Sensation Records in October 1998. The new company focused on producing jazz and blues recordings under the influence of Jeff Healey, its Creative Director, well known blues guitarist, and highly respected collector of classic jazz. Expansion into magazines occurred in February 1999, when Warwick Publishing purchased "Classical Music Magazine" from Derek (Deroy) Copperthwaite and his son, Anthony. The magazine was established in 1978 as "Music Magazine," taking a "plain English" approach to covering classical music in Canada as well as its international influences. Photography was a major component of the magazine, featuring a "candid photojournalistic style, which captures people at their most natural and expressive moments." The magazine was renamed "Classical Music Magazine" in July 1991, and continued to offer articles, interviews and reviews focusing on recent developments, the careers of performing artists and conductors, the release of books and audio recordings, and the history of classical music. Following the purchase of magazine by Warwick Publishing, it was renamed "Opus" and given an expanded editorial focus that included jazz and opera. The company's connection with jazz was strengthened in November 2000, when Warwick Publishing purchased "Coda : the journal of jazz and improvised music." "Coda" was established in May 1958 by John Norris, who served as its editor until 1976. The magazine acquired a significant international readership, with more than 60 percent of its circulation distributed beyond Canada by 2004. It is highly regarded by jazz enthusiasts for its emphasis upon innovative trends in improvised music as well as the genre's traditional roots. The magazine's interviews, articles, reviews of recordings, clubs and concerts, and news columns feature the work of several writers who have had a long association with "Coda," and have resulted in frequent nomination as the best periodical covering jazz in the annual poll of the Jazz Journalist Association. Photography has also been a major component of the magazine's success. Issues have been illustrated not only with the publicity photographs submitted by recording companies and agencies, but also with photography of live performances. A significant percentage of these performance images were taken by Bill Smith, who was appointed art director of "Coda" in 1963, and served as co-editor from 1976 to 1983 and as editor from 1983 until the magazine's purchase in 2000.

Stop Spadina Save Our City Co-ordinating Committee was established in the autumn of 1969 as an advocacy group attempting to halt the extension of the William R. Allen Road (popularly termed the Spadina Expressway) into the core of the City of Toronto. The group organized rallies and marches, petitioned politicians at the local and provincial level, and distributed information materials encouraging citizens to protest the extension of the road. In 1975, the provincial government effectively halted the extension of the Allen by ceding a strip of land in the city's north end to the City of Toronto. Allan Powell was the chair of Stop Spadina.

Project Ossington was opened in 1967 on Portland Street, Toronto, as a hostel for distressed children. It soon moved premises to Ossington Avenue, Toronto (1968). The hostel took in all young people including those turned away from other facilities. A strict regimen was followed at the hostel. It was closed in 1971 by its director, Mrs. Patricia Whitehead, because of a drop in attendance. In its four years of existence it was host to 3,000 youths.

The Progressive Conservative Party of Canada was established in 1942 when John Bracken, a Progressive party premier of Manitoba, became leader of the national Conservative Party and Leader of the Opposition in the House of Commons. The Party enjoyed electoral success under John Diefenbaker, forming governments in 1957, 1958 and 1962, but losing the elections of 1963 and 1965. Diefenbaker was ousted from the leadership in 1967.

People or Planes Committee (P.O.P.) was established in the village of Pickering, Ontario in 1972 in response to the Canadian government's plans to build a major airport in the area and Ontario government's plans to develop an adjacent city. The organization was developed along geographic lines. It had a council with an executive and other committees and a volunteer office. The Pickering airport proposal became moot in 1975 when the province refused to build the service infrastructure necessary for the airport.

The "Onion", the Toronto paper on the arts, was a twice-monthly tabloid newsprint publication. It published fiction, reviews, essays, and artwork. The paper was edited by Stephen Mezei, an author, scriptwriter and instructor in the arts at several institutions, including York University (1974-1975). The Onion's editorial board included Pauline Carey, John Hebert, and other Canadian and foreign writers.

The New Play Society, established by Dora Mavor Moore in 1946, was a professional, non-profit theatre company, which produced original and other works (seventy-two productions in total). One of its most enduring efforts was the annual review 'Spring thaw,' which Moore's son, Mavor Moore, took charge of in the 1950s. The society was also responsible for a theatre school in Toronto.

The Memorial Society Association of Canada received its letters patent in 1971 although some of the chapters were established as early as 1957 (Edmonton). The purpose of the society was to promote the formation of non-profit memorial societies in Canada and to promote dignity and simplicity in funeral rites. Individuals joined local chapters which then subscribed to the national association. There were local chapters in most provinces. At its height in 1987 the Association had 200,000 paying members. It was disbanded in 1990, and dissolved in 1992.

'Cartographica' is considered to be the foremost journal in its field, publishing articles on latest developments of in cartography. It was formed by the union of 'Canadian cartographer,' and 'Cartographica,' and has long been associated with the Geography Department of York University.

Tessera was founded in 1981 as result of conversations among its founding editors, Barbara Godard, Daphne Marlatt, Kathy Mezei and Gail Scott at a York University conference on feminist literary theory in Canada. Their goal was to foster the development of new modes of writing both creative and critical texts which was being pioneered in Quebec. Tessera

began publishing in 1984 out of Simon Fraser University and Stong College at York University. The first four issues of Tessera appeared as special issues of already established periodicals, "Doubleness in language" (Room of one's own); "Reading as

writing/l'ecruture comme lecture" (La nouvelle barre du jour); "fiction/theorie" (Canadian fiction magazine) and "The state of feminist criticism/la situation de la theorie litteraire feministe"(Contemporary verse II). Between 1988 and 1993, Tessera explored poststructuralist theory in conjunction with feminist poetics in such issues as "Translating women" (1989)

and "Performance/transformance" (1991). In 1993, a new editorial collective was formed by Katherine Binhammer, Jennifer Henderson and Lianne Moyes. Adding "feminist interventions in writing and culture" to the journal's title, the new collective invited contributors to include cultural studies and began to profile feminist visual artists such as Ginette Legare, Joanne Todd and Jamelie

Hassan on its covers and in portfolios included within the journal. Since 1988, Tessera has been an independent publication appearing twice a year in a book-size format, printed at Coach House Printing in Toronto, and supported by

grants from the Canada Council and the Ontario Arts Council.

Constituted in Toronto in 1979, the Association of Canadian Film Craftspeople was later recognized as a trade union in Ontario and operated as an unincorporated association representing the workplace interests of film technicians in sectors including lighting, hair and makeup, camera work, set decorating and transportation. In addition to negotiating improved pay and working conditions and promoting skills development workshops, the association provided its membership with health insurance and other benefits. The ACFC participated in Canadian industry committees, lobby groups and events and supported many organizations dedicated to the development of Canadian film production personnel. By 1989 the ACFC had opened locals in Winnipeg and Vancouver and including Toronto reached a membership peak of 800. By the early 1990's, a shifting marketplace and an intense rivalry with other unions resulted in a declining membership. The ACFC was dissolved in April of 1998 and many of its locals merged with the rival International Alliance of Theatrical Stage Employees. One division of the former association, ACFC West, continues to operate in British Columbia.

York International began operations in 1969 as the Office of International Services. Until 1972 its role was limited to acting as the internal administrative office for the York-Kenya Project. The expenses of the Office were paid out of the Kenya budget. In 1972 the Office of International Services received a new mandate from the university. A full-time Director was appointed reporting directly to the President. Its new mandate was to administer the York-Kenya Project, to obtain other international contracts, and to investigate the desirability of student and faculty exchanges with overseas institutions. In 1984 the Office of International Services became York International. Its responsibilities include representing the University to government and international agencies (CIDA, Department of External Affairs, the International Division of the Association of Universities and Colleges of Canada, the World Bank, the United Nations) as well as liaison with embassies and consulates of countries in which projects are going on. In addition, it monitors and assesses projects, co-ordinates visits, student and faculty exchanges between York and international institutions, provides central policy advice on international aspects of university life, promotes the use of special skills developed at York for international projects, provides contacts (with the Robarts Centre) with various Centres for Canadian Studies overseas, and encourages the business community to become involved in international educational and skills exchange programmes. In the period covered by these records the following individuals have served as Director of the York-Kenya Project/Office of International Services and York International: Tillo Kuhn (1970), James Gillies (1971-1972), Gordon Lowther (1972-1974), John Saywell (1974-1978), William Found (1978-1982), Rodger Schwass (1982-1984) and Ian Macdonald (1984-1993), Maria Cioni (1994-2001).

The Faculty of Education was inaugurated in 1971 and became operational in 1972 with the first courses being offered in 1973. The new faculty absorbed Lakeshore Teachers' College in 1971, accepting most of the faculty there as York teachers. The faculty currently offers programmes, combining theory and practice, in elementary, secondary and special education in both a concurrent programme (with an undergraduate degree in Arts or Science), and a consecutive (post-graduate) degree, as well as a Master of Education programme and a doctoral programme. The faculty also offers programmes in Jewish Teacher Education, Deaf and Hard-of-Hearing, and a number of specialized graduate diplomas. In addition the Faculty has a large in-service degree programme for professional teachers who wish to upgrade their qualifications. The Jean Augustine Chair in Education in the New Urban Environment was established in 2008) to facilitate research and activities related to education in a diverse urban society. The following individuals have served as dean of the faculty: Robert L.R. Overing (1972-1980); Joan E. Bowers, acting(1980); Andrew E. Effrat (1980-1990); Stanley Shapson (1990-1998); Jill S. Bell, acting (1998-1999); Terry Piper (1999-2001); Donald Dippo, acting (2001); Paul Axelrod (2001-2008); Alice Pitt (2008-2012); Ron Owston, interim dean (2012-).

Pollution Probe is an education and advocacy group that began in Canada in 1969. The York University chapter was organized in 1970. It had a research and advocacy agenda pertaining to the local region in addition to the national agenda of the organization.

The Mariposa Folk Festival was conceived and realized by Ruth Jones and her husband Dr. Casey Jones, two folk music enthusiasts. Pete McGarvey a local radio broadcaster and Orillia town councillor suggested the name "Mariposa" in honour of local author Stephen Leacock's fictional name for Orillia in his work Sunshine Sketches of a Little Town.
The first festival was held in August 1961 and featured Jacques Labreque, Bonny Dobson, The Travelers, Alan Mills and Ian Tyson and Sylvia Fricker. Mariposa has hosted many up-and-coming stars in Canadian folk and popular music. From Leonard Cohen, Buffy Sainte-Marie, Joni Mitchell, and Gordon Lightfoot, all have performed in the early stages of their musical careers on the Mariposa stage.
The festival grew in popularity, size and rowdiness until the popularity of the 1963 festival (with over 8000 advance tickets sold), and the lack of sufficient security, led to a backlash from town locals. The city of Orillia secured a court injunction to prevent the festival from continuing in the town limits.
The festival moved to Maple Leaf Stadium in Toronto, Innis Lake near Caledon until settling at the Toronto Islands in the 1970s. In the 1980s, the festival was moved to Harbourfront and Bathurst Quay and later Molson Park in Barrie. The 1990s also saw a shifting roster of venues. Toronto Island, Queen Street West, Parkdale, Ontario Place, as well as Bracebridge and Coburg all played host to Mariposa performers and workshops. In 2000, the Mariposa Folk Festival was invited back to Orillia by city councillors Tim Lauer and Don Evans.
In 2010, the Mariposa Folk Festival will celebrate its' 50th Anniversary.
(Material below from history written by Mariposa Folk Foundation)
Mariposa is Founded
On a cold January afternoon in 1961, radio personality John Fisher gave a short but enthusiastic speech to the Orillia Chamber of Commerce where he suggested that Orillia needed something such as an arts festival to promote the town as a tourist destination. In the audience that day was Dr. 'Casey' Jones and his wife Ruth, folk music enthusiasts, and within days the idea of starting a folk festival in Orillia had taken root. Ruth called upon Pete McGarvey, a local broadcaster and town councillor, who jumped aboard enthusiastically. He suggested the name "Mariposa" in honour of Stephen Leacock's thinly disguised fictional name for Orillia in his novella titled Sunshine Sketches of a Little Town.
On August 18, 1961 the very first Mariposa Folk Festival saw two thousand enthusiastic and generally well-behaved attendees set up their lawn chairs in front of a medieval-themed stage at the Orillia Community Centre. Double that number showed up on Saturday night to hear such artists as The Travellers, Bonnie Dobson, Jacques Labreque, Alan Mills and of course, Ian Tyson and his beautiful partner Sylvia Fricker.
One interesting story from that first festival was the fact that home town boy, Gordon Lightfoot, was deemed to be "not of high enough caliber" to perform. He and then-partner, Terry Whelan, were told that they sounded "too much like the Everly Brothers."
In 1962, virtually the same lineup appeared -- this time including Gordon and Terry, then billed as The Tu-Tones. 1963 was a different story and a turning point in the history of the festival. Over 8000 tickets sold in advance and, by the festival weekend, festival goers nearly outnumbered the townsfolk. Restaurants ran out of food, the roads and highways were jammed, and crowding and confusion reigned. The small police force was overwhelmed as it struggled to cope with the crowds, the drunkenness, and the petty vandalism. The backlash from the townsfolk and their elected officials was quick and unkind. The days of Mariposa Folk Festival in Orillia were, so it seemed, done. The folkies and their rowdy behaviour were no longer welcome.
Mariposa on the Move
In 1964, the Town of Orillia got a court injunction and the festival was forced to go somewhere else. It moved to Maple Leaf stadium in Toronto, later to Innis Lake near Caledon, and finally to Toronto Island where it made its home for the 1970s. While not always a financial success, Mariposa built a reputation as the place to be among both audiences and performers. Artistic director Estelle Klein pioneered the idea of workshop performances and the idea was quickly adopted by nearly every festival in North America. Estelle also had an eye for talent. Among those she hired were Buffy Sainte-Marie, Gordon Lightfoot, Phil Ochs, John Hammond, Joni (Mitchell) Anderson, Tom Paxton, Pete Seeger, Doc Watson, James, Taylor, Tom Rush, Leonard Cohen, Murray McLauchlan, Taj Mahal, John Prine, Richie Havens, Buddy Guy and Bruce Cockburn. Neil Young made a surprise guest appearance in 1972 as did Bob Dylan.
It was during the time at Toronto Island that the festival blossomed with its workshops, its artisans area and its "native people's area." Dance, craft and music were consistently of such high standards that audiences returned year after year despite changes in the popular music mainstream.
By 1980, the festival had moved to Harbourfront in Toronto and then over to Bathurst Quay in 1981. That year the rain made the festival site a quagmire and, despite a good artistic lineup, the festival lost a lot of money. In fact, things were so bad financially that no festival was held at all in 1982.
In 1984, Molson Breweries approached Mariposa organizers about moving the event to Molson Park in Barrie. A few meters off the main highway to Toronto, and with lots of trees and open spaces, it seemed a good fit for a folk music festival. A modest crowd of 2000 people attended that year and established a home for the festival for the next several years. By the time 1989 rolled around, crowds of 25,000 were commonplace. The next year though, unseasonable cold and rain all spoiled the fun, and the festival was in debt once again. To make matters worse, Mariposa and Molsons parted company, and the festival found itself on the road once again.
Ontario Place became the next home for Mariposa and for two years served that purpose. In 1993 it was back to the Toronto Island for daytime workshops and to Queen Street West for evening concerts. James Keelaghan, Colin Linden, the Irish Descendents, Holmes Hooke and Ann Lederman were among the widely recognized performers to appear that year. For the next couple of years, the festival followed that format, but poor weather and weak attendance put the festival into serious debt, yet again.
The Doldrum Years
By 1996, there were threatening noises that the festival would fold, just like in 1987 when last minute heroics by Lynne Hurry and Mariposa founder, Ruth Jones McVeigh, helped save the festival from extinction.
In 1996, there were two Mariposa festivals: one in Bracebridge and one in Cobourg. Mariposa in Bracebridge was a success but the one in Cobourg lost money. By the end of the 1990s, the festival had become a small, one-day festival in the Parkdale neighbourhood of Toronto.
The Rising Phoenix
The City of Orillia had more than doubled in size since the festival was ignominiously given the boot in the early sixties. As was the case forty years earlier, there were individuals with foresight and imagination. City councillors Tim Lauer and Don Evans were like-minded individuals with an interest in folk music. Joined by fellow roots enthusiast Gord Ball, they cooked up a plan to approach Mariposa Folk Foundation about the chances of re-locating the festival to where it all began. It was a case of fortuitous good timing. With Mariposa scouting for a new location, the Foundation's board of directors was receptive to the request from the small party from Orillia.
Within weeks, a loose band of volunteers pulled together to form a not-for-profit organization, Festival Orillia Inc. (FestO), to stage the festival in Orillia, and to complete negotiations with Mariposa Folk Foundation.
Late in 1999, a three-year agreement to stage Mariposa Folk Festival in Orillia was signed and the re-building began. In the ensuing months of intensive meetings, discussions and planning sessions, a strong bond and mutual trust developed between FestO Charter President, Gerry Hawes, and Mariposa Folk Foundation President, Lynne Hurry. By the time of Mariposa's triumphant return to Orillia in July 2000, the two had already cooked up a plan to make Orillia its permanent home. Less than a year into the three-year agreement, a Harmonization Committee was struck, leading to the eventual disbandment of FestO with Mariposa Folk Foundation continuing on, not only as the predecessor organization, but as the successor organization as well. To this day, the Mariposa Folk Foundation board of directors is comprised of people from Toronto, Orillia and elsewhere across Southern Ontario.
At the first festival back in Orillia in 2000 nearly 400 volunteers signed up, and a stellar cast of performers played to the delight of a large appreciative audience. Of course, it helped that hometown boy Gordon Lightfoot headlined the Sunday night finale. Since then, Mariposa Folk Festival has flourished in Orillia.
During past decade, the Mariposa Folk Foundation launched a Hall of Fame to recognize leaders and classic performers from its past. Mariposa has also entered into a Partnership with York University to protect, catalogue and digitize its nationally significant archive of folk music and materials.
In 2010, Mariposa Folk Festival celebrated its 50th anniversary, cementing its place internationally as one of the 'Grande Dames' of folk festivals.

Mariposa In The Schools (MITS) introduces Ontario young people to world oral cultural traditions, reaching 50 school communities each year with a repertoire of world music, dance, storytelling, spoken word and puppetry.

We believe that oral traditions and world performing arts, celebrate, critique and share knowledge and lead to cross-cultural understanding and inter-generational continuity, ultimately building more caring and joyful communities.

Our artists connect with children and youth in meaningful creative learning that challenges perceived abilities and racial and cultural stereotypes, as well as inspire us all to reflect, cooperate and build something that’s bigger than ourselves.

Since 1969 MITS has been committed to the principle of equity of access for all children. We invest our fundraising revenues in this cause, bringing affordable programs to under-resourced inner city, rural and First Nations communities across Ontario.
(from MITS website: http://www.mariposaintheschools.ca/)