Expo 67: 40th Anniversary Celebrations Edition (part 5)

August 13, 2007

Vision of Austria: a touch of classical music

As pop producer Sir George Martin once said, sometimes a small musical ensemble is all that you really need to produce "evocative"  melodic results. No more is this apparent than with Kurt Schwertsik's score of the "Vision of Austria" as featured at the Austrian Pavilion.  The listener will note the gentle "classical approach" performed by the "Wiener Studio Ensemble."  Interestingly, even though both sides of this record are somewhat similar to each other, side two is interspersed with a couple of famous classical compositions including (not surprisingly) the "Blue Danube" by Johann Strauss.

"Vision of Austria" was released on Preiser Records and the music consultant for the recording was Karl Löbl.

The following information culled from the back sleeve of the 45 rpm...

Vision of Austria

An audio-visual environment featuring "Vision of Austria" is the major attraction in the Austrian Pavilion. Using remarkable optical and acoustic effects this audio-visual environment presents in a sonic picture sequence a swinging display of Austria, past and present.

All the members of the cast speak from personal experience of the country's eventual history which makes up the Austrian image.

The background music of "Vision of Austria" draws inspiration from Austria's rich musical heritage and contemporary musical creativity.

Part 1 (classical instrumental)

Part 2 (classical instrumental)

Special thanks to Andre Fiset of Laval, Québec, for sending us the audio tracks.


August 10

The Australian Pavilion and its famous "talking chairs"

Photo credit: © the National Archives of Australia

A Novel Feature in the Australian Pavilion
"Talking Chairs" at Expo 67

A novel recording and playback system is an outstanding feature of the Australian pavilion at Canada's EXPO 67 in Montréal.

Visitors to the Australian pavilion can relax in 250 in well-upholstered chairs grouped around the main exhibits.

Each chair has a curved back and headrests which shield the ears.

Inside the headrests are small loudspeakers connected to one of 250 cartridge-type tape recorders located in the pavilions basement.

Each tape-recorder is triggered remotely by the weight of the person's body on the chair seat.

Through the loudspeakers in the headrest, the visitor hears three-minute-long recorded conversations between two people -- many of them distinguished Australians -- who will discuss the exhibits near the chair.

About 180 of the chairs converse in English. The rest, upholstered in different color, will be devoted to the French language for the benefit of  the large number of French-Canadian visitors. 

The contract for the talking chair equipment was awarded to the Rola Division of Plessey Components of the Commonwealth Department of Supply, on behalf of the Australian Exhibit Organization for EXPO 67.

Exacting performance requirements were specified by the Department of Supply, as the units operate 12 hours a day, seven days a week for six months.

Plessey engineers worked around the clock to build an operational prototype for intensive testing by officers of the Department of Supply.

These rigorous examinations included drop tests, and six million start/stop operations to test the unit's motor and mechanical components.

Article was culled from: FoundationExpo88.org.

Click on the above image for more "talking chair" photographs.

Photo credit: © the National Archives of Australia

Photo credit: © the National Archives of Australia

Photo credit: © the National Archives of Australia

Photo credit: © the National Archives of Australia


August 4

Photo credit: © the National Archives of Canada


USA Postal Service: The R. Buckminsiter Fuller Commemorative Stamp was issued on July 12, 2004 based on the front cover edition of Time Magazine, January 10, 1964.

Spaceship Earth at Epcot Centre, Disney World, Florida.

"EPCOT...will take its cue from the new ideas and new technologies that are now emerging from the creative centers of American industry. It will be a community of tomorrow that will never be completed, but will always be introducing and testing and demonstrating new materials and systems. And EPCOT will always be a showcase to the world for the ingenuity and imagination of American free enterprise." -- Walt Disney. Thus, the acronym for EPCOT stands for: "Experimental Prototype Community of Tomorrow."

From 1947 "the geodesic dome dominated [Buckminster] Fuller's life and career," writes the U.S. Postal Service. "Lightweight, cost-effective and easy to assemble, geodesic domes enclose more space without intrusive supporting columns than any other structure, efficiently distribute stress, and can withstand extremely harsh conditions. Based on Fuller's "synergetic geometry," his lifelong exploration of nature's principles of design, the geodesic dome was the result of his revolutionary discoveries about balancing compression and tension forces in building. Fuller applied for a patent for the geodesic dome in 1951 and received it in 1954."

At Expo 67, Buckminster Fuller's geodesic dome was one of his finest efforts. It is "as high as a 20-storey building [which] soon became "the" focal point on the Île Sainte-Hélèn site," writes Biosphère, Environment Museum . "In the space of six months it was visited by 5.3 million people, making it the busiest pavilion at Expo '67.  Its six inner floors on the theme "Creative America", contained several hundreds artifacts and works of art bearing witness to American genius, and some of the space rockets actually used in the Apollo program. However, everyone agreed that the highlight of the presentation was the building itself. The huge sphere, with a diameter of more than 80 metres, was imposing from the outside but discreet from the inside. At night, it was transformed into a sparkling jewel that dominated the landscape. In 1967 Buckminster Fuller celebrated his 50th wedding anniversary, and dedicated the dome to his wife Anne when they visited the site in April of that year."

In 1982, inspired by the work of Buckminster Fuller, "Spaceship Earth" was built at Epcot in Disney World, Florida. The full, slightly uneven circle, is not a geodesic dome whereas "a true geodesic dome is hemispherical," writes Jackie Craven of About.com: Architecture. "Spaceship Earth encloses some 2,200,000 cubic feet of space inside a globe which is 165 feet in diameter. The outer surface is composed of 954 triangular panels made of a polyethylene core sandwiched between two anodized aluminum plates. These panels are not all the same size and shape."  The aluminum is "smother than glass" writes Richard R. Beard in his book Walt Disney's Epcot: Creating the New World of Tomorrow. "[T]he globe's facet reflect diffuse images as varied as its surroundings: by day, Spaceship Earth mirrors the sky, the land, the patterns made by Epcot Centre's structures, walkways, and visitors; by night, it glints with the sparkle and illumination not only of World Showcase across the lagoon but also of the galaxies, the stars, the planets it emulates." 

Spaceship Earth is even environmentally friendly: "And if, on occasion, it reflects only a torrential rain, rest assured that the water cascading down the giant sphere will not drench the unsuspecting pedestrian below. The water will be collected within the globe itself, and be used to replenish the wells which in turn replenish the lagoon. Such is the way of Epcot Centre," writes Beard.

Buckminster Fuller died in Los Angeles on July 1, 1983.

Important links:

Biosphère, Environment Museum Canada

Spaceship Earth and Buckminster Fuller's Geodesic Domes - by Jackie Craven

The United States Commemorative Postage Stamp to Honor R. Buckminster Fuller, The Man (and the Mind) Behind the Geodesic Dome


Photo credit: © the estate of Della Charlton, used with permission.

"Buckminster Fuller, regarded as an eccentric outsider for decades, was now the grand old man of experimental design, and at Expo his was the most commanding creative presence on the site," wrote Robert Fulford in his book Remember Expo. "No one who went there could ever forget the grace and style of the biggest bubble in the world."


From the Montréal Gazette, Aug. 4/07: "Expo 67's sculptors, then and now"

"Perhaps the biggest stand-out in the smattering of Montreal events commemorating the 40th anniversary of Montreal's year of good feeling is the modest exhibit now on view at Stewart Hall in Pointe Claire," writes freelance journalist Henry Lehmann in his excellent report. "Succinctly titled Expo 67 Revisited, this informative exhibit focuses both on the art actually produced for the Expo site and on recent art by the same sculptors. The artists, Anne Kahane, Robert Roussil, Yves Trudeau, Mario Merola, David Sorensen and Armand Vaillancourt, represent a cross-section of Montreal's avant-garde of the 1960s, and all are still active." 

To read the complete article, please click: "Expo 67's sculptors, then and now."


The following films are being presented by Québecois Cinéclub in Montréal...

Images with a future
The National Film Board and the Labyrinth pavilion in Expo 67

From May 4 at September 2
Prolongation until November 4
Luce-Guilbeault Hearth
Free entry

This new temporary film presents photographs documenting the fantastic Labyrinth pavilion.

Based around a score of images, the film recalls the design and the setting used at Labyrinth as seen by more than one million spectators during Expo 67. With the concept "See large and show imagination!" of the exposition, the National Film Board (NFB) answered by an allegorical architecture of the labyrinth of Maze, conceived on five stages, using cinematographic techniques, examples of what would announce being the future of the visual language.

This film presents an occasion to plunge in the emulation which was Expo 67 and to include/understand, more particularly, what Labyrinth gave us a chance to see: a control of the man on itself.

The film is being presented by the NFB in collaboration with the Québécois Cinéclub.

"Man and His World" Film Contest
A selection of 20 short films and an exposure of documents of files

From July 12 at August 26
Norman-McLaren Room
Free entry

Launched in 1966 in Montreal and New York by the organizers of the 8th international Film Festival of Montréal, this competition invited scenario writers from around the world to carry out a 50 second old film relating to the topic of the Expo 67. In order to underline the 40th birthday of Expo 67, this exhibition presents 20 short films that were made for the "Man and His World" contest.        


July 21

The Sun Life Carillon was known as "The Voice of Expo 67"

For the 40th Anniversary Edition of Expo 67, we examine the past and current history of the Sun Life Carillon...


Installed by the Sun Life Assurance Company of Canada on Parc Hélène for Expo 67, the carillon sounds came from 671 bells "from the 96 foot top of La Tour de Lévis on the 153 foot high summit of Mont Boullé" wrote the Expo 67 Official Guide.  The summit was a "miniature mountain in the centre of the park which bears Madame de Champlain's maiden name," it noted in the write-up.

Carillonneur Lucien Hétu was given the honour of playing the carillon. In "Wondrous Fair", an article by the Canadian magazine, it was reported Hétu played concerts and classical tunes in the afternoon and evening during Expo 67.

For visitors to Expo, those must of been the sweetest and most gentle sounds to be heard at the fair.

Today, carillon concerts are heard daily at 5 p.m. at the Sun Life Building in Montréal. By arrangement, the carillon can also be played for special occasions and festive seasons.

Below this introduction, Jocelyne Michaluck, Coordinator - Conference Centre, Sun Life Building,  graciously provided some of the fascinating background material about the carillon. The audio clip and photograph of Hétu was graciously provided by Andre Fiset of Laval which helps to re-create those wonderful carillon sounds through a cover version of "Hey Friend, Say Friend', Expo 67's official theme song.

The Sun Life carillon is part of Montréal's proud and rich history.

Click the "On Air" image and listen to an instrumental version of "Hey Friend, Say Friend" as performed by Lucien Hétu on the Sun Life Carillon.

The Carillon

Montréalers and visitors to Montréal enjoy the sound of bell music in Dominion Square. The bells belong to the Sun Life Carillon which plays concerts throughout the year. Following its role as the Voice of Expo 67, the Carillon was installed in the Sun Life Building (shortly after Expo 67).

Carillonneur Lucien Hétu

This carillon, one of the largest in the world, can reproduce the sounds of 671 cast bells. The lowest note is equivalent to a 22-ton cast bell, which is the lowest tone even produced in a bell system.

As an instrument, the carillon was developed in the 13th century in four-bell form, mainly in the Netherlands and Belgium. Over succeeding centuries it evolved as an instrument of great significance. The electro-mechanical principle upon which the Sun Life Carillon is based, was developed only recently and gives the instrument much greater capacity, versatility and range. This carillon was built by Schulmerich Carillons Inc., of Sellersville, Pa.

How the carillon is played

The Sun Life Carillon is played on a console, resembling a large organ, placed in a balcony overlooking the ground floor banking hall.

It may be played by a carillonneur or automatically.

When the carillonneur sits down at the console, he has the equivalent of 1,500 tons of cast bells at his command. Instead of heavy bells, the Sun Life Carillon is made up of small tuned bars of bell metal. When the musician touches a key on the console, a signal is sent to the equipment housed in the basement of the building, and a small steel hammer strikes the appropriate metal bar. The impact of the hammer causes the bar th vibrate, though the sound produced is only a faint "ping".

The vibrations are fed by an electrostatic pickup unit into a device that changes these physical sound vibrations into electrical impulses. The machine that performs this feat is called a "vibrating-tone generator".

Once the original vibrations have become a series of electrical impulses, they are then passed on to an amplifier. Here the electrical impulses are amplified hundreds of thousands of times, and then fed to stentors (speakers) which convert the electrical impulses into actual bell music. Power amplification of 3,600 watts of audio power is provided to the stentors, which have a frequency range of 50 to 20,000 cycles per second.

The Sun Life Carillon was temporarily silenced by the 1998 ice storm

The winter of 1998 would be remembered for its famous "ice storm" that severely hit both Montréal and Ottawa. Rain had fallen continuously for nearly a week, causing the rain to solidify into ice. The build-up of the ice was so great (about as thick as a "hot-dog bun") on the outdoor electrical power lines, that the weight of the ice snapped electrical cables and toppled some of those steel towers that supported them. Unfortunately, the ice storm also impacted on the Sun Life Carillon.  The following comments were culled directly from the Sun Life Building "What's New? Tenant Newsletter", Spring 2003, Vol. 1, No. 1 edition...

We are pleased to announce the refurbishment of the Sun Life Carillon.  This wonderful 671-bell carillon originally known as the voice of Expo 67.  It was installed in the Sun Life Building where it remained in operation until the ice storm of '98 forced it into silence.

The Sun Life team worked extremely hard to bring back the sound of music.  We are pleased to announce, as partner of the Montréal High Lights Festival and the sponsor of the "Sun Life Financial Performing Arts" that Thursday, February 13, 2003 marked the return of the sound from the past.  Once again a musical storm hit the streets of downtown Montréal.  For the duration of the festival, the famous bells greeted after-work crowds from 5:00 p.m. to 5:10 p.m., Monday to Friday.

About the carilloneur Lucien Hétu
from The Canadian Encyclopedia Historica...

Lucien Hétu. Organist, songwriter, singer, b Ancienne-Lorette, near Quebec City, 8 Apr 1926, d Montréal 10 Jan 1990. He first studied organ 1949-51 with Georges Lindsay. In 1952 as a singer he won the grand prize of the CBC radio competition 'Les Talents de chez-nous.' He studied voice 1952-3 with Paul DuBois and organ 1954-5 with Germaine Janelle. In 1953 he sang and was co-host on the CKAC radio program 'Sans tambour ni trompette.' As a songwriter he took part in the CBC French network's 'Concours de la chanson canadienne'; his songs 'Parc Lafontaine,' 'Compagnon de route,' 'La Madone,' 'Pourtant je l'aime,' and 'Vague à l'âme' made an impression at this competition. He then became known chiefly as an organist and in this capacity he directed the opening of CFTM-TV in 1961. Some of the songs from his 1968 recital with his son Daniel at the Comédie-Canadienne were released on an RCA LP (Gala CGPS-295). Father and son also toured Canada that year as singer and pianist, and in 1969 they appeared at the PDA.

The Montréal Festival du disque awarded Hétu two trophies in 1968, one as a performer and another for successful sales of his records. In 1970 he received a gold record for the highest sales of the year. He appeared in Paris in 1965, Switzerland in 1968, and Japan in 1970. He made some 30 LPs for RCA Victor, as well as some for Visa. Most of his recordings are of dance music or music for festive occasions. In 1978 for Reader's Digest he produced a set of six LPs entitled Les Mille Visages de l'orgue (RCA), in which he performed 72 old and new hit tunes. He also recorded several of Marc Gélinas's hits for the LPs La Ronde (Harmonie HF-90140) and Marc Gélinas: ses chansons interprétées à l'orgue (Jupiter JPL-11009).

Bibilograhy used for the Sun Life Carillon:

1. The Canadian Encyclopedia Historica, Encyclopedia of Music in Canada, Lucien Hétu, written by Denis Allaire, Denise Ménard, Suzanne Thomas.

2. Sun Life Building, "What's New? Tenant Newsletter", Spring 2003, Vol. 1, No. 1 edition.

3. Jocelyne Michaluck, Coordinator - Conference Centre, Sun Life Building, for e-mailing the basic history about the carillon.

4.  The Canadian Magazine: "Wondrous Fair", Vol. 3, No. 24, June 17, 1967. Distributed by Southstar Publishers Limited, Toronto, Ontario.

5. The Canadian Corporation for the 1967 World Exhibition, "Expo 67 Official Guide".


July 15

The Québec Pavilion was filled with Electronic Music

Described as "electroacoustic work", Gilles Tremblay's "Centre Elan" was the music that was heard at the Québec Pavilion.  "The pavilion's exhibits focused on urbanization, industrialization, business and education in the province while also presenting natural resources, particularly forestry and water as growth industries," writes the Canadian Music Centre.  "It was the relationship between modern man and his environment that informed Tremblay's soundscape, which featured recordings of sounds collected from across the province." 

Time Magazine described it as "Music on the Move. At the Québec Pavilion, for example, a series of almost blank abstractions -- freestanding blocks representing water, forests, industry -- is bathed in an electronic score, by Canadian Broadcasting Corporation Staff Composer Gilles Tremblay, in which lab-produced whir, twitter and roar complement the visual suggestions.  High overhead the individual sound tracks collide and coalesce into a contrapuntal aural landscape."

 Composer, Gilles Tremblay

Gilles Tremblay's musical background in how he learned music (i.e. composer, pianist, ondes Martenotplayer, etc.) is an extensive one, but one of interesting facts that emerged from his past was that "he made the acquaintance of Karlheinze Stockhausen in Darmstadt in the late 1950s" writes the Living Composers Project.  Stockhausen, who is acknowledged as the first pioneer of electronic music, likely had some  influence on Tremblay's work (as did Boulez, Boucourechliev, Ferrari and Xenakis) if one listens closely to the short audio presentation of "Centre Elan" at the CMC website.

The "Centre Eland" soundtrack at the Québec Pavilion earned him the Prix de musique Calixa-Lavallée award in 1968. It is "awarded by a jury of the St-Jean-Baptiste Society of Montréal to a resident of Québec whose accomplishment and distinction in the field of music have served or are serving the higher interests of the people of Québec and abroad," writes the Canadian Encyclopedia.com.

Important links

Time Magazine: Seeing Sounds (at Expo 67)

CMC Audio Gallery: Gilles Tremblay


Photo credits: top left, National Archives of Canada; middle left, Maclean's Magazine, June 1967; composer photo taken by Ronald Maisonneauve; last two bottom photos: Graphis, 1967.

July 12

Abbotsford British Columbia remembers Expo 67!

Photo credit © Rick Rake, 2007. Used with permission.

Hi John,

We had an interesting session of sharing stories, examining souvenirs and listening to University College of the Fraser Valley Canadian history professor, Dr. Molly Ungar outline the story of Expo 67 in her talk at the MSA Museum Annex in Abbotsford, British Columbia tonight.

I took a picture of Dr. Ungar (woman on the right with the 1967 Quebec licence plates) and a member of the audience (an Abbotsford man who lived in Montréal and attended Expo) Roger Caza holding up an Alexander Cooper poster from the Jamaica Pavilion at Expo.

Ungar explained how Expo came to be, showcased the culture and fashion of the time and how the event contributed to the feeling of Canadian nationalism and pride. She played the CA-NA-DA song and showed many compelling slides from the centennial spectacle.

Other souvenirs circulated among the crowd were adult and child Expo passports, Expo souvenir coins, postcards, 5-cent stamps, Dow beer bottle caps, site posters, a record from the Trinidad pavilion’s touring steel band, pavilion pamphlets (from Russian, Western Provinces, India, Britain and India pavilions), Expo entertainment booklet and of course the official Expo guide.

It was a great time and a neat Western Canada style tribute to one of Canada’s most memorable celebrations.


Rick Rake

Expo 67 in Montréal website footnote: Special thanks to Rick Rake for this excellent report. Rick is editor for the Abbotsford News.

July 10

World at our door

The amazing architecture of Expo 67 was just part of its many wonders
By PAT MACADAM, columnist for the Ottawa Sun

In the beginning, Expo 67 was about as popular as a case of lockjaw at a corn boil.

Politicians, press and the public pounced on the Montréal World Fair without quarter.

Why are they building new islands in the St. Lawrence River when there is so much open land on the island of Montréal?

It will never open on time!

Nobody will come!

The crepe hangers hadn't heard of les durs -- "the tough guys".

Smooth as silk former diplomat, Pierre Dupuy, was commissioner general. He sold the dream.

Former president of Foundation Canada, Bob Shaw, was deputy commissioner general. He sold the structural steel and the bricks and mortar.


Andy Kniewasser, a former assistant deputy minister in the federal Trade and Commerce department, was general manager. His nickname was "Fire the Bastard."

Col. Ed Churchill was the hard driving Army engineer who built the infrastructure. He had 1,042 days to do it. He worked with a new tool -- "critical path" -- to prioritize functions.

Philippe de Gaspe Beaubien was Mr. Everything and he would become "Mayor of the Fair."

Pierre deBellefeuille headed up the exhibits department.

Nathan Steinberg of the grocery family handled concessions and licensing ("Conk and Lick").

Yves Jasmin, the urbane Ford of Canada public relations manager, headed up Expo's PR department.

Ken Johnstone, Canada's most gifted magazine writer headed up the news bureau and put together a stable of experienced journalists and PR types.

These were Expo 67's shock troops.

Andy Kniewasser called me over to his office one morning. He was well aware of my close ties with John Diefenbaker's Opposition caucus.

"Patrick, what can we do to get Opposition MPs behind Expo? They keep sniping at us in the House."

I picked up Andy's phone.

"May I?"

I dialled MP Bob Coates' office. Bob was chairman of the powerful Members' Management and Services Committee -- a post traditionally reserved for an opposition MP -- and he and I were long-time friends.

"Bob, I'm sitting here with Andy Kniewasser and we wonder if you can help us? Can you organize a bunch of MPs to come to Montréal at our expense for a site tour and briefings?

"They should be aware that the fair was Senate Speaker Mark Drouin's idea and Dief's Government gave it the green light and federal funding. Doesn't it seem strange that the Tory Opposition is now lambasting it?"

Bob agreed and the very next week a busload of Opposition MPs -- Theo Ricard, Eldon Woolliams, Jack MacIntosh, Jack Horner, Warner Jorgenson, Coates and others -- came to Montréal.

Pierre Dupuy, Bob Shaw and Andy Kniewasser dazzled them with their visionary briefings. If the MPs arrived as sceptics, they left as converts. There were no more pot shots during question period.

Expo sponsored a Press Club Ball and laid out big bucks for talent -- Robbie Lane and the Disciples and Canada's "pet" -- singer Juliette.

Pierre Dupuy was the darling of the media. They loved his low-key, laid-back way of parrying questions. A reporter asked him if it were true there would be singing porpoises in the Alcan Aquarium.


"What are the porpoises doing now, Mr. Dupuy?"

"They're rehearsing."


Before and during the fair, the site was awash with royalty and celebrities.

Ethiopian Emperor Haile Selassie was there with his small dog. The Shah of Iran and his Empress, Queen Elizabeth II and Prince Philip, Prince Rainier and Princess Grace, Princess Margaret and Lord Snowdon, U.S. President Lyndon Johnson, French President Charles de Gaulle, the King of Thailand and Prince Albert of Belgium all made appearances.

Laurence Olivier, Bing Crosby, Harry Belafonte, Maurice Chevalier, Thelonius Monk, Marlene Dietrich, Carol Channing, Patrick McNee, Jack Lemmon, Robert Wagner, Jackie Kennedy and Bobby Kennedy and family rubber-necked.

Buckminster Fuller's stunning geodesic dome for the U.S. pavilion was a hit. Sir Basil Spence, architect of Coventry Cathedral, designed the soaring British pavilion. Moshe Safdie's "Habitat" of 158 pre-fabricated housing units was a pathfinder in new methods of construction.

Bell Canada's 360-degree film was spectacular and competed with Czechoslovakia's Lanterna Magika for best visual honours.

Irish designer Sean Kenny's out-sized ride -- Gyrotron -- was spectacular.

The 33,000-seat Autostade was designed to be portable and was to be sold but there were no takers. It was demolished in 1971. The Montréal Expos baseball team, named after the fair, came into being in 1969 but elected to play their home games at Jarry Park.

The Quebec and French pavilions are now a casino.

Habitat is now a tony waterfront address.

LaRonde, the amusement area, was sold in 2001 to Six Flags, a New York amusement park company.

Will Canada ever enjoy another good year like 1967?

Copyright © by the Ottawa Sun, all rights reserved. Article was first published on July 1, 2007

July 8

How Expo 67 was built by using the "Critical Path Method" (CPM)

"IT'S JULY 31, 1965, and one of the islands where Expo will stand is just taking shape. The trucking contractors are doing their damnedest to get that fill hauled down to the riverfront and dumped into the cofferdam.  But a little mob of wildcat strikers are doing their damnedest to stop them," writes Hal Tennant for Maclean's in a featured article for their June 1967 edition entitled:


July 5

Abbotsford, British Columbia, to salute Expo 67...

What’s Your Expo ’67 Story?

The MSA Museum Annex presents What’s Your Expo ’67 Story? with Molly Ungar.

For some Canadians, Expo ’67 – held in Montréal – was their first time to Quebec. For others, it meant crossing the continent for the first time.

Expo ’67 was a showcase for the latest in Canadian architectural, industrial and fashion design.

Thousands of Canadians have special memories associated with their trip to Expo ’67, and many still treasure their Expo ’67 souvenirs. If you were there 40 years ago in Montréal, you’re invited to share your Expo story.

As part of the evening program series, the presentation will be held on Thursday July 12 at the MSA Museum Annex.

The program begins at 6:30 p.m. Doors open at 6 p.m. Admission is by donation. The Annex is accessed through the north door of the Clearbrook Library building.

Call 604-853-3722 for more information.

Copyright © by the Abbotsford News. Used with permission with our sincere thanks.

July 5

Revisit Expo 67 at Stewart Hall Art Gallery in Montréal

"Stewart Hall will feature the works of six Quebec artists whose sculptures were on display during Expo 67, including those of Armand Vaillancourt who will run a creativity workshop for the whole family starting at noon," writes The West Island Chronicle. The exhibition will feature photographs of Expo 67 plus "a few smaller models of the original Expo 67 sculptures."

The Stewart Hall Art Gallery is located at 176 Lakeshore Rd. in Pointe Claire, Montréal. The exhibition will run from July 8-Aug 26, 2007.

For more information, please call: (514) 630-1254.