Over 60 Wildlife Species At Risk In Canada's Changing North

Atlantic Walrus © J. Higdon (CNW Group/Committee on the Status of Endangered Wildlife in Canada)

Atlantic Walrus and Eastern Migratory Caribou are at risk of extinction. So concluded the Committee on the Status of Endangered Wildlife in Canada (COSEWIC), which met in Whitehorse, April 23-28. The number of Canadian northern wildlife species considered to be at risk now stands at 62.

Canada has already lost one of its three populations of Atlantic Walrus. Once abundant in ocean waters of Atlantic Canada, including the Gulf of St. Lawrence, the animals were hunted to extinction by 1850. The two surviving populations rely on Canadian Arctic marine habitat and have coexisted with Indigenous peoples for millennia. 

Over the past few decades, the areas inhabited by the few thousand High Arctic walruses and the more numerous Central and Low Arctic population have shrunk and continue to do so. As the climate warms and sea ice recedes, interaction with industry and tourism is increasing. These threats, layered upon ongoing harvesting, led the committee to recommend a status of Special Concern for both populations. 

According to marine mammal expert and COSEWIC member Hal Whitehead, "The walrus is a most unusual and distinctive mammal of the northern seas. Walruses have been very important to the Inuit, both as food and in their culture, and they remain so today. Walruses are particularly sensitive to disturbance, and certainly deserve special attention."

Many caribou populations have previously been assessed by COSEWIC, but the committee considered the Eastern Migratory Caribou for the first time. The famous George River herd in Québec and Labrador numbered over 800,000 in 1993, but the numbers have now fallen to an unprecedented low of a few thousand animals. A second major herd is also in serious decline. The committee therefore recommended Endangered status. 

Graham Forbes, co-chair of COSEWIC's Terrestrial Mammals Subcommittee, stressed the sensitivity of caribou to human activity, a condition complicated by rapid northern climate change: "Shrubs increasingly cover landscapes that were once dominated by lichen, caribou's major winter food source, and overharvest continues. We are worried that these factors may make it very hard for herds to recover."

Parts of Canada's North are warming faster than anywhere else in the world, and the number of northern species at risk is rising. Over half of these at-risk species are currently assessed as being of Special Concern, meaning measures to address climate change and good management of hunting, disturbance, and development are needed to prevent their status from deteriorating to Threatened. 

Yukon Fish and Wildlife Management Board Chair, Frank Thomas, highlighted the need to coordinate efforts toward this goal: "Local communities, through the work of management boards, play an important role in the conservation of Canada's northern biodiversity. We all need to work together."

Eric Taylor, Chair of COSEWIC, echoed Mr. Thomas' call to action: "Canada's biodiversity is at risk from coast to coast to coast, and timely action on many fronts is required, from dealing with habitat disturbance and overharvesting to concerted efforts to combat the effects of climate change."

At the meeting, a number of other wildlife species were found to be at risk. Examples include:

Endangered

• Ord's Kangaroo Rat (neither a kangaroo nor a rat), a rare Prairie dune specialist
• Some populations of Lake Sturgeon, a large, very long-lived species affected by historical overfishing
• Butternut, a tree in eastern provinces devastated by a fungal disease.

Special Concern

• Harris's Sparrow, a northern songbird breeding only in Canada and showing ongoing declines largely due to pressures on their wintering grounds in the US
• Shortfin Mako, an open-ocean shark found seasonally in Atlantic Canadian waters and showing signs of recovery from overfishing.

>> Further details on all wildlife species assessed at this meeting can be found on the COSEWIC website <<

Harris’s Sparrow © G. Romanchuk (CNW Group/Committee on the Status of Endangered Wildlife in Canada)

Next meeting

COSEWIC's next scheduled wildlife species assessment meeting will be held in November 2017.

About COSEWIC

COSEWIC assesses the status of wild species, subspecies, varieties, or other important units of biological diversity, considered to be at risk in Canada. To do so, COSEWIC uses scientific, Aboriginal traditional and community knowledge provided by experts from governments, academia and other organizations. Summaries of assessments are currently available to the public on the COSEWIC website (www.cosewic.gc.ca) and will be submitted to the Federal Minister of the Environment and Climate Change in fall 2017 for listing consideration under the Species at Risk Act (SARA). At this time, the status reports and status appraisal summaries will be publicly available on the Species at Risk Public Registry (www.sararegistry.gc.ca).

At its most recent meeting, COSEWIC assessed 33 wildlife species in various COSEWIC risk categories, including 9 Endangered, 3 Threatened, and 13 Special Concern. In addition to these wildlife species that are in COSEWIC risk categories, COSEWIC assessed 1 wildlife species as Extinct and 5 as Not at Risk. An additional 2 were found to be Data Deficient.

COSEWIC comprises members from each provincial and territorial government wildlife agency, four federal entities (Canadian Wildlife Service, Parks Canada Agency, Fisheries and Oceans Canada, and the Canadian Museum of Nature), three Non-government Science Members, and the Co-chairs of the Species Specialist and the Aboriginal Traditional Knowledge Subcommittees.

Definition of COSEWIC terms and status categories:

• Wildlife Species: A species, subspecies, variety, or geographically or genetically distinct population of animal, plant or other organism, other than a bacterium or virus, that is wild by nature and is either native to Canada or has extended its range into Canada without human intervention and has been present in Canada for at least 50 years.
• Extinct (X): A wildlife species that no longer exists.
• Extirpated (XT): A wildlife species that no longer exists in the wild in Canada, but exists elsewhere.
• Endangered (E): A wildlife species facing imminent extirpation or extinction.
• Threatened (T): A wildlife species that is likely to become Endangered if nothing is done to reverse the factors leading to its extirpation or extinction. 
• Special Concern (SC): A wildlife species that may become Threatened or Endangered because of a combination of biological characteristics and identified threats.
• Not at Risk (NAR): A wildlife species that has been evaluated and found to be not at risk of extinction given the current circumstances. 
• Data Deficient (DD): A category that applies when the available information is insufficient (a) to resolve a wildlife species' eligibility for assessment or (b) to permit an assessment of the wildlife species' risk of extinction.
• Species at Risk: A wildlife species that has been assessed as Extirpated, Endangered, Threatened or Special Concern.

SOURCE: Committee on the Status of Endangered Wildlife in Canada

International Jazz Day 2017 Worldwide Celebration Concludes With All-Star Global Concert, In Havana, Cuba

TMIJ/UNESCO, International Jazz Day 2017, Sun. April 30.

Following thousands of events taking place in over 190 countries, International Jazz Day 2017 culminated in a phenomenal concert streamed worldwide from Havana's historic Gran Teatro de La Habana Alicia Alonso. As the International Jazz Day 2017 Global Host City, the musically vibrant city of Havana also presented a wide range of concerts and education programs in partnership with Cuba's Ministry of Culture, the Cuban Institute of Music, and the Cuban National Commission for UNESCO.

Established by the United Nations Educational, Scientific and Cultural Organization (UNESCO) in coordination with the Thelonious Monk Institute of Jazz, International Jazz Day is recognized on the official calendars of UNESCO and the United Nations. 

TMIJ/UNESCO, International Jazz Day 2017, Sun. April 30.

Each year on April 30, International Jazz Day highlights the role of jazz in promoting freedom, creativity and intercultural dialogue, and uniting people from all corners of the globe. Toyota served as Lead Partner of International Jazz Day 2017.

The Global Concert began with an all-star group of musicians from Cuba and around the world performing "Cuba Bop" and "Manteca" in tribute to the groundbreaking 1940s collaboration between Dizzy Gillespie and Chano Pozo that blended Afro-Cuban music and jazz. 

Acclaimed vocalist Cassandra Wilson performed her sultry composition "You Move Me" and Cuban trumpet virtuoso Julio Padrón played Freddie Hubbard's inventive "Byrdlike." Beloved Cuban vocalist Bobby Carcassés joined forces with master bassist and vocalist Richard Bona of Cameroon for a fiery rendition of the Latin jazz tune "Bilongo."

"Bésame Mucho" showcased the global influence of jazz, with pianists Youn Sun Nah (Republic of Korea) and Tarek Yamani (Lebanon); bassist Esperanza Spalding and violinist Regina Carter (United States); and drummer Antonio Sánchez (Mexico). To mark the centennial of jazz icon Thelonious Monk, legendary Cuban pianists Gonzalo Rubalcaba and Chucho Valdés gave a stunning performance of the classic "Blue Monk." 

The concert came to a exhilarating end with artists including pianist Herbie Hancock, bassist Marcus Miller, vocalists Kurt Elling and Ivan Lins, French guitarist Marc Antoine, and Cuban percussionists Yaroldi Abreu, Adel González, Ramsés Rodriguez and Oscar Valdés performing the John Lennon anthem "Imagine."

For more information, visit www.unesco.org/days/jazzday     

The Video:

SOURCE: Thelonious Monk Institute of Jazz

Trump Administration Executive Order Threatens Millions Of American Jobs And Billions In GDP

Today, the Trump administration announced plans to expand offshore oil drilling in U.S. waters, threatening recreation, tourism, fishing and other coastal industries, which provide more than 1.4 million jobs and $95 billion GDP along the Atlantic coast alone. 

• The executive order directs the Interior Department to develop a new five-year oil and gas leasing program to consider new areas for offshore drilling. 
• The order also blocks the creation of new national marine sanctuaries and orders a review of all existing sanctuaries and marine monuments designated or expanded in the past ten years.

"Our ocean, waves and beaches are vital recreational, economic and ecological treasures that would be polluted by an increase in offshore oil drilling, regardless of whether or not there is a spill," said Dr. Chad Nelsen, CEO of the Surfrider Foundation. "With today's action, the Trump administration is putting the interests of the oil and gas lobby over the hundreds of communities, thousands of businesses, and millions of citizens who rely on the ocean and coasts for their jobs and livelihoods." 

New offshore drilling would threaten thousands of miles of coastline and billions in GDP, for a relatively small amount of oil. Ocean tourism and recreation, worth an estimated $100 billion annually nationwide, provides 12 times the amount of jobs to the U.S. economy, compared to offshore oil production. Even under the best-case scenario, America's offshore oil reserves would provide only about 920 days, or 18 months supply of oil at our current rate of consumption, according to federal agency estimates.

"Tourism drives our local economy, and the approval of offshore drilling poses a huge threat to the livelihood and quality of life in our beach community," said Nicole D.C. Kienlen, Tourism Director of Bradley Beach, New Jersey. "The effects would be devastating on multiple levels."

Even when there are no accidents, offshore oil drilling seriously pollutes our water and food supply at every stage. The ground penetration, the drilling, the rigs, and the transportation tankers all release toxic chemicals and leaked oil. The standard process of drilling releases thousands of gallons of polluted water into the ocean. High concentrations of metals have been found around drilling platforms in the Gulf of Mexico and have been shown to accumulate in fish, mussels and other seafood.

"The Trump administration wants to pour money in to a sinking ship with relatively small return, instead of supporting growth industries like coastal tourism and renewable energy that are adding jobs to our economy," said Pete Stauffer, Environmental Director for the Surfrider Foundation. "We will stand up for what's best for the nation, and our oceans, by fighting new offshore drilling off our coasts."

Find out more and get involved at Surfrider.org

About Surfrider Foundation
The Surfrider Foundation is a non-profit grassroots organization dedicated to the protection and enjoyment of our world's oceans, waves and beaches through a powerful activist network. Founded in 1984 by a handful of visionary surfers in Malibu, California, the Surfrider Foundation now maintains over 500,000 supporters, activists and members, with more than 80 volunteer-led chapters and 60 clubs in the U.S., and more than 400 victories protecting our coasts.

 

SOURCE: Surfrider Foundation

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"Flying Pigs" Video Marks Arrival Of The All-New 2017 Chrysler Pacifica Hybrid [Video Included]

“Flying Pigs” video marks arrival of the all-new 2017 Chrysler Pacifica Hybrid

The Chrysler brand is celebrating the arrival of the all-new 2017 Chrysler Pacifica Hybrid with a new 60-second video "Flying Pigs," which will begin running across digital media channels beginning Friday, April 28. "Flying Pigs" can be viewed on the Chrysler brand's official YouTube page, in addition to the brand's social channels Facebook, Twitter and Instagram. The all-new 2017 Chrysler Pacifica Hybrid minivan is arriving in dealerships now. 

"If I had told you even two years ago that the Chrysler brand would transform the minivan segment with the industry's first hybrid minivan, and that it would achieve 84 MPGe, with class-leading features and innovations, including hybrid-exclusive technology features, including a smartphone app, deliver relevant vehicle information, such as charge status and scheduling, charging station locations and an 'efficiency coach' for more efficient driving, many consumers would have said they'll believe it 'when pigs fly'," said Tim Kuniskis, Head of Passenger Car Brands – Dodge, SRT, Chrysler and FIAT, FCA – North America. "With the all-new 2017 Chrysler Pacifica Hybrid arriving into dealerships, consumers will no longer have to say they'll believe it when they see it, and can now experience it firsthand for themselves."

"To celebrate this next critical chapter in our Minivan Firsts – our story requires a very specific message – one that speaks to two very distinct audiences (parents and children)," said Olivier Francois, Chief Marketing Officer – FCA Global. "Through the spot's unique story-telling device, flying pigs and blue moons are seen as the device to highlight segment-first features that are almost unbelievable and will appeal to adults and kids alike."

The 60-second "Flying Pigs" video opens in an animated picture-book view, from the perspective of a young boy and his sister sitting in the passenger seats of the all-new 2017 Chrysler Pacifica Hybrid as their parents take the minivan for a test drive. As mom and dad learn about the class-leading safety and technology features, the children see the unexpected as they gaze into the sky through the Chrysler Pacifica Hybrid's tri-pane panoramic sunroof. With sweeping CGI aerial shots that include flying pigs, "down under" freezing over and a blue moon, the moral of the story is that the all-new Chrysler Pacifica Hybrid defies all conventional thinking.

As the original creator of the minivan more than 30 years ago, FCA US LLC has transformed the segment with firsts, notching 78 innovations through the first five minivan generations.

"Flying Pigs" was created in partnership with Goodby Silverstein & Partners.

The Video:  
SOURCE: FCA US LLC

From Bananarama To Boyzone, Here's Why So Many Bands Are Making A Comeback

Bananarama // PA/PA Archive/PA Images

By David Beer, University of York

The announcement that 1980s pop trio Bananarama are to reform is the just the latest in a long line of recent comebacks. From Boyzone to Wet Wet Wet, Take That to Jamiroquai, The Jesus and Mary Chain, The Stone Roses, The Verve, Sleeper, These Animal Men, Northern Uproar, S Club 7, 5ive and Cast, musicians of old are intent on trying on their faded stardom for size. Even Menswe@r tried it, albeit with only one original member. The news that Elastica were reuniting, however, disappointingly turned out to be premature.

Comebacks seem to be everywhere. They are not limited to a particular genre, but they do often seem to be bound to a particular era. The success levels might vary somewhat, but we seem to be living in a cultural moment that is defined by the comeback. Of course, there have been plenty of comebacks before, but right now they’re close to being ubiquitous.

It’s tricky to know exactly what is happening here. Music cultures have always had one foot in the past. Classic songs, signature sounds, attachments to older formats like vinyl, intertextual reference points, remastered and reissued albums and the like, have long been a central part of how music is made and consumed. But the comeback is a more material and pronounced version of these tendencies. The comeback represents a more obvious and direct impulse to revisit.

Why come back?
Nostalgia undoubtedly plays a part. Inevitably bands who return for a second innings are driven by a desire to revisit particular moments or to experience again music from more youthful times. The myths and memories are likely to mix together a little here.

Some suggest that the prominence of the comeback is further evidence of culture stalling; that we have reached something of a creative dead end and therefore can only look backwards. The point here, mistakenly, would be to think that an absence of creativity has left a void that the comeback fills. A slightly more positive take on this is that we have seen the emergence, over the last ten years or so, of a new kind of retro culture which looks to the past for its resources and which uses pastiche to enliven culture today. Simon Reynolds has called this mythical revisiting of music’s archives “retromania”.

This may play a part, but I’d suggest that we need look beyond explanations bedded in the music industry if we are to understand the rise of the comeback. We can gain a richer understanding of these comebacks by thinking about how music scenes are deeply rooted in our identities – and about the important role that music takes in shaping how we connect with the social world.

A sociological view
Research has shown that music fans continue to have an attachment to the music of their youth as they move into later life. They might listen to other things and change their style of dress, but the music remains embedded in their identities. We have a strong connection with the music that forms a central part of our own biographies.

Elsewhere it has been found that music plays an important role in how we handle our emotional lives. A classic study by the sociologist Tia DeNora found that we use music in our everyday lives to influence and stimulate our emotions and feelings, to negotiate our moods or to help us to recall or revisit memories and times.

This shows that people are likely to seek out opportunities to engage with that musical past both in terms of reaffirming their identities but also because of the emotions and memories that the music embodies for them. So we need not see these comebacks as a sign of cultural failure. This comeback music will have been central to how generations of people have negotiated their lives, so having a chance to experience it in the live arena is likely to be appealing. Music scenes, are, after all, moments when our personal biographies mix with broader social changes and cultural movements.

The Rolling Stones headline Glastonbury Festival 2013. Anthony Devlin/PA Archive/PA Images

The comeback is hard to explain because those explanations are likely to be based upon a kind of inbuilt nostalgia. When we compare music’s past with its present we are also comparing different moments in our own lives . It is hard to understand changing music cultures when we are basing this understanding on our own changing biographies.

Bananas about Bananarama
Yet Bananarama’s comeback is undoubtedly part of a cultural movement, a comeback culture that is far greater than before. Like vintage and retro clothing, the resurgence of vinyl, retro arcade video gaming, the trend for revisiting and remaking classic films and TV shows (CHIPS being the most recent), and “Keep calm and carry on” style memorabilia, the comeback trend illustrates how complex relations are between yesterday and today.

The comeback is, above all else, fuelled by a desire to access and experience the cultural moments that defined our lives and identities, not the collapse of cultural creativity. It is rooted in the attachments that people form as they live with music and as they recall those times and experiences.

And so the political and social uncertainty that has defined recent years might well provide the backdrop for the comeback to thrive. It is much more likely that people are seeking assurance and security by turning back to the songs that provide an anchor for their identities or which enable them to negotiate the emotional impact of a seemingly uncertain social world, than that they feel alienated or disappointed by the music of today.

About Today's Contributor:

David Beer, Reader in Sociology, University of York

This article was originally published on The Conversation.