Background: Grace Beverly Jones (born 19 May 1948) is a Jamaican singer, songwriter, supermodel, record producer, and actress. Born in Jamaica, she moved when she was 13, along with her siblings, to live with her parents in Syracuse, New York. Jones began her modelling career in New York state, then in Paris, working for fashion houses such as Yves St. Laurent and Kenzo, and appearing on the covers of Elle and Vogue. She worked with photographers such as Jean-Paul Goude, Helmut Newton, Guy Bourdin, and Hans Feurer, and became known for her distinctive androgynous appearance and bold features.
Context: Jones was signed by Island Records, who put her in the studio with disco record producer, Tom Moulton. Moulton worked at Sigma Sound Studios in Philadelphia, and Portfolio, was released in 1977. The album featured three songs from Broadway musicals, "Send in the Clowns" by Stephen Sondheim from A Little Night Music, "What I Did for Love" from A Chorus Line and "Tomorrow" from Annie. The second side of the album opens up with a seven-minute reinterpretation of Edith Piaf's "La Vie en rose" followed by three new recordings, two of which were co-written by Jones, "Sorry", and "That's the Trouble". The album finished with "I Need a Man", Jones' first club hit. The artwork to the album was designed by Richard Bernstein, an artist for Interview.  In 1978, Jones and Moulton made Fame, an immediate follow-up to Portfolio, also recorded at Sigma Sound Studios. The album featured another reinterpretation of a French classic, "Autumn Leaves" by Jacques Prevert. The Canadian edition of the vinyl album included another French language track, "Comme un oiseau qui s'envole", which replaced "All on a Summers Night"; in most locations this song served as the B-side of the single "Do or Die". In the North American club scene, Fame was a hit album and the "Do or Die"/"Pride"/"Fame" side reached top 10 on both the US Hot Dance Club Play and Canadian Dance/Urban charts. The album was released on compact disc in the early 1990s, but soon went out of print. In 2011, it was released and remastered by Gold Legion, a record company that specialises in reissuing classic disco albums on CD. Jones' live shows were highly sexualized and flamboyant, leading her to be called "Queen of the Gay Discos."  Muse was the last of Jones' disco albums. The album features a re-recorded version "I'll Find My Way to You", which Jones released three years prior to Muse. Originally appearing in the 1976 Italian film, Colt 38 Special Squad in which Jones had a role as a club singer, Jones also recorded a song called "Again and Again" that was featured in the film. Both songs were produced by composer Stelvio Cipriani. Icelandic keyboardist Thor Baldursson arranged most of the album and also sang duet with Jones on the track "Suffer". Like the last two albums, the cover art is by Richard Bernstein. Like Fame, Muse was later released by Gold Legion.
Question: when did he sign with them?
Answer: 

Problem: Background: 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.
Context: Harold Innis's interest in the relationship between empires and colonies was developed in his classic study, The Fur Trade in Canada: An Introduction to Canadian Economic History (1930). The book chronicles the trade in beaver fur from the early 16th century to the 1920s. Instead of focusing on the "heroic" European adventurers who explored the Canadian wilderness as conventional histories had done, Innis documents how the interplay of geography, technology and economic forces shaped both the fur trade and Canada's political and economic destiny. He argues that the fur trade largely determined Canada's boundaries, coming to the conclusion that the country "emerged not in spite of geography but because of it".  In line with this observation, Innis notably proposes that European settlement of the Saint Laurence river valley followed the economic and social patterns of indigenous peoples, making for a Canadian historical and cultural continuity that pre-dates and post-dates European settlement. Unlike many historians who see Canadian history as beginning with the arrival of Europeans, Innis emphasizes the cultural and economic contributions of First Nations peoples. "We have not yet realized," he writes, "that the Indian and his culture was fundamental to the growth of Canadian institutions." This Innisian perspective on the development of Canadian political, economic and social institutions was an early form of neo-institutionalism which become a accepted part of the Canadian political science traditional well before American and European counterparts. The Fur Trade in Canada concludes by arguing that Canadian economic history can best be understood by examining how one staple product gave way to another--furs to timber, for example, and the later importance of wheat and minerals. Reliance on staples made Canada economically dependent on more industrially advanced countries and the "cyclonic" shifts from one staple to another caused frequent disruptions in the country's economic life.  The Fur Trade in Canada also describes the cultural interactions among three groups of people: the Europeans in fashionable metropolitan centres who regarded beaver hats as luxury items; the European colonial settlers who saw beaver fur as a staple that could be exported to pay for essential manufactured goods from the home country, and First Nations peoples who traded furs for industrial goods such as metal pots, knives, guns and liquor. Innis describes the central role First Nations peoples played in the development of the fur trade. Without their skilled hunting techniques, knowledge of the territory and advanced tools such as snowshoes, toboggans and birch-bark canoes, the fur trade would not have existed. However, dependence on European technologies disrupted First Nations societies. "The new technology with its radical innovations", Innis writes, "brought about such a rapid shift in the prevailing Indian culture as to lead to wholesale destruction of the peoples concerned by warfare and disease." Historian Carl Berger argues that by placing First Nations culture at the centre of his analysis of the fur trade, Innis "was the first to explain adequately the disintegration of native society under the thrust of European capitalism."
Question: What was in his study?
Answer:
The book chronicles the trade in beaver fur from the early 16th century to the 1920s.