Question: Monroe was born on his family's farm near Rosine, Kentucky, the youngest of eight children of James Buchanan "Buck" and Malissa (Vandiver) Monroe. His mother and her brother, Pendleton "Pen" Vandiver, were both musically talented, and Monroe and his family grew up playing and singing at home. Bill was of Scottish heritage. Because his older brothers Birch and Charlie already played the fiddle and guitar, Bill Monroe was resigned to playing the less desirable mandolin.

In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie, and childhood friend and guitarist William "Old Hickory" Hardin. Together with a friend Larry Moore, they formed the "Monroe Brothers", to play at local dances and house parties. Birch Monroe and Larry Moore soon left the group, and Bill and Charlie carried on as a duo, eventually winning spots performing live on radio stations-- first in Indiana and then, sponsored by Texas Crystals, on several radio broadcasts in Iowa, Nebraska, South Carolina and North Carolina from 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936. They scored an immediate hit single with the gospel song "What Would You Give in Exchange For Your Soul?" and ultimately recorded 60 tracks for Victor's Bluebird label between 1936 and 1938. After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. Bill had wanted "Old Hickory" to become one of the original members of his "Blue Grass Boys", however William Hardin had to decline. In October 1939, Monroe successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's "Mule Skinner Blues". Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks. While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, while Monroe added banjo player David "'Stringbean" Akeman to the Blue Grass Boys in 1942, Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.

Using a quote from the above article, answer the following question: Did he perform in any concerts?
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Answer: Monroe successfully auditioned for a regular spot on the Grand Ole Opry,

Problem: Harold Adams Innis (; November 5, 1894 - November 8, 1952) was a Canadian professor of political economy at the University of Toronto and the author of seminal works on media, communication theory, and Canadian economic history. Despite his dense and difficult prose, Innis was one of Canada's most original thinkers. He helped develop the staples thesis, which holds that Canada's culture, political history, and economy have been decisively influenced by the exploitation and export of a series of "staples" such as fur, fishing, lumber, wheat, mined metals, and coal.

Harold Innis wrote his PhD thesis on the history of the Canadian Pacific Railway (CPR). The completion of Canada's first transcontinental railway in 1885 had been a defining moment in Canadian history. Innis's thesis, eventually published as a book in 1923, can be seen as an early attempt to document the railway's significance from an economic historian's point of view. It uses voluminous statistics to underpin its arguments. Innis maintains that the difficult and expensive construction project was sustained by fears of American annexation of the Canadian West. Innis argues that "the history of the Canadian Pacific Railroad is primarily the history of the spread of Western civilization over the northern half of the North American continent". As Robert Babe notes, the railway brought industrialization, transporting coal and building supplies to manufacturing sites. It was also a kind of communications medium that contributed to the spread of European civilization. Babe writes that, for Innis, the CPR's equipment "comprised a massive, energy-consuming, fast-moving, powerful, capital-intensive 'sign' dropped into the very midst of indigenous peoples, whose entire way of life was disrupted, and eventually shattered as a result. Communications scholar Arthur Kroker argues that Innis's study of the Canadian Pacific Railway was only the first in which he attempted to demonstrate that "technology is not something external to Canadian being; but on the contrary, is the necessary condition and lasting consequence of Canadian existence". It also reflected Innis's lifelong interest in the exercise of economic and political power. His CPR history ends, for example, with a recounting of Western grievances against economic policies, such as high freight rates and the steep import tariffs designed to protect fledgling Canadian manufacturers. Westerners complained that this National Policy funnelled money from Prairie farmers into the pockets of the Eastern business establishment. "Western Canada", Innis wrote, "has paid for the development of Canadian nationality, and it would appear that it must continue to pay. The acquisitiveness of Eastern Canada shows little sign of abatement."

What is the CPR?

Answer with quotes:
Canadian Pacific Railroad