A THOUSAND WORDS - Alex Waterhouse-Hayward's blog on pictures, plants, politics and whatever else is on his mind.




 

The Goblin Market - It Takes Two to Tango on the Trapeze
Tuesday, October 03, 2017

Rochelle Mangan, Eve Gordon  & Edward Clendon River



 The 85 minute performance of The Goblin Market by New Zealand’s circus/theatre The Dust Palace the Cultch's York Theatre last night overpowered me with so many images and associations (from my memory) that I was unable to clap after every extraordinary act of trapeze, aerial hoop and aerial silk. There was  even one event using multiple chairs balanced at impossible angles that left me wondering what these three, Rochelle Mangan, Eve Gordon and Edward Clendon River would do next.

Mixed in were projections of nighttime freeway scenes and bits of lines from the poem The Goblin Market by the English Poet Christina Rossetti (1830 – 29 December 1894). Rossetti was known as a poet for children but this particularly long poem involving fruits and the love between two sisters has many saying it is an erotic poem not proper for children.

I would not argue this at all but I would assert that in The Dust Palace’s version of the poem seen in two acts (one involving Rochelle Mangan and Edward Clendon River (a younger and more handsome version of Daniel Day-Lewis) on the trapeze and that of Rochelle Mangan and Eve Gordon on the aerial hoop was for me as erotic as Argentine Tango can be. While I am an Argentine who dances, so-so, of the Argentine Tango I know enough when I see the real thing.

The lighting by Technical Director Michael Craven particularly in Edwad Clendon River's aerial silk work brought to me the image of Salvador Dalí's Christ of St. John of the Cross. This lighting was in contrast with Craven's comment to me, "At first I did not know how to light this."

But those two stupendous performances of Eros in the air (Bianca Beebe, the rigger was an unseen star who made sure nothing slipped or fell) to me were nothing in comparison to Eve Gordon reading bits of a Lydia Lunch's poem while Rochelle Mangan, up front on the stage, standing on her hands moved her legs and feet with an eloquence that defied logic. This was, achingly, the best. Mangan talked with her feet.

It brought from the memory of my youth in Mexico City of the comedian José Antonio Hipólito Espino Mora, Clavillazo, who was known as “the man who talks with his hands”.

The  Goblin Market does have a political message which with the recent death of Playboy Magazine publisher Hugh Heffner is quite up to date on how men prey on women.

After the show I was escorted by the three performers to their dressing room for our photograph. I asked the women why they were wearing the sheer body stockings. It seems that the stockings prevent skin from sticking to trapeze and hoop.


Director  Mike Edward & Eve Gordon

The three almost believed me when I told them there was a New Zealand version of Genesis that involved the mandarin orange and not an apple. The mandarin orange played a central role in Tuesday’s performance. But it seems that the fruit used depends on the season and the location of the show. Who knows what other fruits will crop up in the next performances until the last on October 14 (all at 8pm).

In my photograph below you can see a masked Edward Clendon River holding a cantaloupe. A pair in the audience behind me spoke of the bounty of New Zealand fruits (Clandon brought out an avocado and a banana). They did not seem to understand that the fruit in question represented the nether parts of humans! I told Clendon that in Cuba the papaya is an unmentionable fruit name and that the preferred name is “fruta bomba.”

Edward Clendon River

A trapeze is a short horizontal bar hung by ropes or metal straps from a support. It is an aerial apparatus commonly found in circus performances. Trapeze acts may be static, spinning (rigged from a single point), swinging or flying, and may be performed solo, double, triple or as a group act. It is officially the last performance of the circus.

The art of trapeze performance was developed by Jules Léotard, a young French acrobat and aerialist, in Toulouse in the mid-1800s. He invented the flying trapeze, practising over his father's swimming pool
Wikipedia


It would be extremely difficult for me to describe plainly to anybody asking me what I saw at the Cultch last night Tuesday, October 3 at the York Theatre. If I answered, “The Goblin Market by a New Zealand theatrical/circus group The Dust Palace,” that would not help.

The fact is that Vancouver is far more hip than most might think. That city of cardboard bread at Safeway (my Vancouver when I came with my wife and two daughters from Mexico City in 1975) is long gone.

John Alleyne, the former Artistic Director of Ballet BC introduced us to talking dancers in the works of American choreographer William Forsythe. At first we rebelled but soon we liked our dancers to talk.

It was some years later that renowned former dancer but now choreographer Crystal Pite,who melded theatre and choreography, (even the raising and the lowering of the curtain was choreographed) with the Electric Theatre Company in their work Eadweard Muybridge– Studies in Motion.

And it was our very own Leaky Heaven Circus that combined the circus (with dogs) humour and irreverently performed topics like St. Joseph and the Virgin Mary and the sexual mores of Bonobos.
That two of the above, the Leaky Heaven Circus and the Electric Theatre Company had its beginnings at the Vancouver East Cultural Centre tells me (and should tell you) that edgy performance stuff, a mixed bag (in all its positive connotation) of stuff is the trademark that contravenes the often made remark “boring Vancouver”.

The aerial hoop (also known as the lyra, aerial ring or cerceau/cerceaux) is a circular steel apparatus (resembling a hula hoop) suspended from the ceiling, on which circus artists may perform aerial acrobatics. It can be used static, spinning, or swinging.Tabs are the connection points where the aerial hoop attaches to the rigging. Most aerial hoops connect at either one point (single tab configuration) or two points (double tab configuration). The number of tabs an aerial hoop has will depend on how it will be used, the intended effect, and the performer's comfort level. - Double tab hoops hung from two points (at equal or wider spacing as the tabs on the hoop) will swing like a trapeze (or a child's swing) and do not spin.- Double tab hoops connected to a single aerial point, the hoop can spin and swing in a multi axis plane i.e. a pendulum swing or a circular flight pattern.- All double tab hoops have the ability to hinge from the tab points when the artist hangs from the top portion of the hoop making this style the very different in acrobatic capacity than a single tab hoop.- Single tabs hung from a single point can spin, and swing along more than one axis i.e. a pendulum swing or a circular flight pattern. Aerial hoops can be hollow or solid. Lighter hoops will spin more easily; once a solid hoop gets momentum, it will stay spinning for much longer. Sometimes aerial hoops have crossbars or hand or foot loops to aid the performer.
Wikipedia


Aerial silks (also known as aerial contortion, aerial ribbons, aerial silks, aerial tissues, fabric, ribbon, or tissu, depending on personal preference)  is a type of performance in which one or more artists perform aerial acrobatics while hanging from a fabric. The fabric may be hung as two pieces, or a single piece, folded to may a loop, classified as hammock silks. Performers climb the suspended fabric without the use of safety lines, and rely only on their training and skill to ensure safety. They use the fabric to wrap, suspend, fall, swing, and spiral their bodies into and out of various positions. Aerial silks may be used to fly through the air, striking poses and figures while flying. Some performers use dried or spray rosin on their hands and feet to increase the friction and grip on the fabric.
Wikipedia

Addendum: The Cultch’s Executive Director, Heather Redfern, looked smashing in a tight white dress. I enquired. She told me, “I bought this dress 25 years ago at Le Chateau.”

Perhaps in her spare time Ms Redfern is a master of the trapeze or the aerial hoop.

Illustration for the cover of Christina Rossetti's Goblin Market and Other Poems (1862), by her brother Dante Gabriel Rossetti

The Goblin Market - The Poem

Script Treatment that includes the music heard during the performance:



THE GOBLIN MARKET
by The Dust Palace

SCRIPT / TREATMENT

Direction – Mike Edward
Artistic Direction – Eve Gordon
Devised by Eve Gordon, Rochelle Mangan and Edward Clendon River
also contributed: Ben Crowder, Ella Edward, Carlene Newall de Jesus, Michael Craven and Hadley Taylor


Lights up on the plank. Man with syringe injects an orange.

Smooth (Glenn Kotche Remix)
Bill Ryan & Grand Valley State University New Music Ensemble
Album: In C – Remixed

Lizzie walks across stage in a red dress

Heartattack and Vine
Lydia Lunch featuring Nels Cline
Album: New Coat of Paint - Songs of Tom Waits
 - backing track only

(film here is a collage of different techniques)

LIZZIE: (spoken)
Your eyes
oh god, i'm wet
voice
dripping down my throat and pooling there like too many words to say and i'm stuck
stone but soft
choking on your thick lust
I stood there
fell over my words
lost
in the woods
a fairy fucking tale
but this is
danger
and i know it and I want it
and you want me
me
you want me

Man enters eating an apple with a knife, Laura enters and signals for the lyra. Man throws the knife and hits her in the stomach.
Lizzie and Laura run across stage and jump onto a Motorway medium barrier.
After Dark
Tito & Tarantula
Album: From Dusk Till Dawn (Music from the Motion Picture)

(words on film are created by printing onto clear sticky sheets then appliqued onto 16mm film, filmed through a projector then modified digitally)

ON SCREEN:
Evening by evening
Among the brookside rushes,
Sisters
close together
With clasping arms
cautioning lips,
With tingling cheeks
finger tips.
Look, Lizzie, look, Lizzie,
Laura whisper’d
Lizzie veil’d her blushes
come buy.

Man walks across the girls naked. Lizzie and Laura follow him off.

Zinc (Zoe Keating Remix)
Bill Ryan & Grand Valley State University New Music Ensemble
Album: In C – Remixed

ON SCREEN:
Morning and evening
Maids hear the goblins cry:
Come buy our orchard fruits,
Come buy, come buy:

Man struggles with his inner monster on the silks

(bleach work on black film)

Chaos
Archive
Album: Controlling crowds

Lizzie and Laura are being tempted by the goblin man and are traveling towards him. Lizzie is turned away and Laura continues.

Mighty Micro People
Amon Tobin
Album: Out from Out Where

(edited street footage)

ON SCREEN:
We must not look at goblin men,
We must not buy their fruits:
Lizzie cover’d up her eyes,
Cover’d close
“We must not look

Laura sees the goblin man

Yulunga (Spirit Dance)
Dead Can Dance
Album: The Best of Lisa Gerrard

ON SCREEN:
She heard a voice like voice of doves
Come buy,
come buy.

La valse du couperet
Armand Amar
Album: Retrospective

Laura and the man meet and he takes her home. He feeds her a piece of fruit. They make love on the trapeze.

(crying eye, tattoo footage)

The Whole Nine
Amon Tobin
Album: Verbal

Primavera
Ludovico Einaudi
Album: Divenire

Lizzie, panicking, finds Laura and takes her home.

(out of focus city lights of Wellington)

99191__horroguy__aliceintro

??????
??????

Lizzie puts Laura to bed.

Song for Jesse
Nick Cave & Warren Ellis
Album: The Assassination of Jesse James By the Coward Robert Ford (Music From the Motion Picture)

ON SCREEN:
Sisters
close toegther
Like two blossoms on one stem,
Like two flakes of new-fall’n snow,
Cheek to cheek and breast to breast
 Lock’d together in one nest.

Lizzie and Laura wake the following morning.

Rebel Girl
Bikini Kill
Album: Singles

Man (spoken)
(words by Jess Holly Bates)
Its another fucking cold morning
on the passenger seat
of a Holden Camira
and two girls wake -

winter is as bitter as
a lemongrass green tea
in a herne bay villa kitchen
and Ponsonby
keeps tightening
that corporate tie
around K Road’s neck
so we can’t tell
if his eyes are seams bulging
from a night on the rocks
or just -
too much boutique caffeine

in the glittering city of fails
two girls wake
open mouths gleaming
morning splinting
over the dashboard
and into the
corners
of last nights
hollow
stomach
pulling sleep from their throttles
like they have engines in their eyes

from every kick-started corner
comes the clack
of price-clipped plenty
Armani bootheels
on polished concrete
- wild venison steaks
are glittering like prisoners
in the organic chiller
the shop girl
smiles through
juice-pulp teeth
adding turmeric to neoliberalism
in narcissus’
ponsonby boutique
and the avocados are down
to $4.45 each
snaffle em up
get a loan
get a shark
hang your credit cards like teeth
around your neck
and be the savage wreck
rich in consequence
of too
many
people
sleeping
in the casino carpark

Laura takes selfies. Lizzie steals her phone. They fail to hang the washing effectively. Lizzie makes Laura call the man.

I Like Fucking
Bikini Kill
Album: Singles

(filmed rooftop with 16mm black film overlays)

Laura sits on the phone waiting for the man to pick up. The man is now a monster and cannot pick up.

Lizzie sings.

Imaginary Girl
David Lynch
Album: Ghost of Love – Single

ON SCREEN:
I ate and ate my fill,
Yet my mouth waters still;
To-morrow night I will
Buy more;”

LIZZIE (sung)
She is an imaginary girl
A fiction
I am a dog on a chain
A prisoner
When I see her walk
To and Fro
My teeth grow long
All reason goes
Swing pretty girl
Swing
It ain't real anyway

Man, well dressed and handsome comes to visit and offer his fruit. He discovers Laura has a sister and is taken by her. He dismisses Laura.

You don’t own me
The Blow Monkeys
Album: Dirty Dancing Soundtrack

Lizzie doesn’t eat the fruit.

Laura comes to the microphone.

Optimist
Zoë Keating
Album: Into the Trees

LAURA: (spoken)
Hello
My heart is racing
God, how did I get here
I was drawn to your fire
That look, that moment, that taste
Everything
and now I’m nothing.
I remember something beautiful
Feeling alive, feeling free, so fucking high
Intense, overwhelming, so confusing
Everything
All there is, all I have, all I am
I don't want it I need it
without it I am
Worthless, hollow, empty, 
Dead, but not dead
Alive but not alive
A body with no soul
Nothing

(Artist Campbell Farquhar: giant pinhole camera with 16mm film bundled inside exposed for 5 seconds)

Laura tries to get back to the Man’s place but can’t find her way anymore.

Les racines du rêve
Henry Torgue & Serge Houppin
Album: Amour-Légende

She gives up and it rains coins.

(scratch film)

Two goblins enter and call Laura. She can’t hear her phone ring.

Saboteur
Amon Tobin
Album: Supermodified

ON SCREEN:
Laura turn’d cold as stone
To find her sister heard that cry alone

Lizzie takes Laura’s clothes and makes her perform her sadness for the audience.

Derek Lee Ragin
Aria 'Alto giove'
(from 'Polifemo')

Lizzie: (spoken)
(words by Lydia Lunch from ??????????????)
You can’t save anyone from themselves.
You will lose everything, attempting to play saviour.
You will never, ever heal the terminally wounded.
You cannot repair the damage already done by selfish parents, vicious ex-lovers, child molesters, tyrants, poverty, depression, or chemical imbalance.
You can’t undo psychic wounds.
You can’t bandage old scars.
You can’t kiss away ancient bruises.
You can’t make the fucking pain go away.
You can’t shout down the voices in other people’s heads.
You can’t make them feel special.
They’ll never feel beautiful enough, no matter how beautiful they are to you.
They’ll never feel loved enough, no matter how much you fucking adore them.

The longer that you love a damaged person, the more it’s going to hurt you.
They will mock your generosity.
They will abuse your kindness.
They will expect your forgiveness.
They will try your fucking patience.
They’ll sap your energy, and eventually they’ll end up killing your fucking soul.
They won’t be happy until you’re as miserable as they are..
Then, their incredible self-loathing will be justified by the perpetuation of a cycle, from which there’s absolutely no recourse.
And of course, the more damaged they are, the more charismatic, the more brilliant, the more sexually intoxicating, the more dangerous to your own mental health.
You can’t save anyone from themselves.
You will lose everything, attempting to play saviour.

Laura self destructs.

Geisha
Shipwrek & Take/Five
Album: Geisha – Single

Mysterious Duo, Nite School Klik, Release First Track

Bap
Take/Five
Album: Midnight EP

(slow-motion footage of worms, meat, rope, cookie cutters, a hoe, expanding dirt pulls, smashing bottles, ripping picture books and a burning doll)

Lizzie tries to get through to Laura but realizes she is too far gone. Lizzie realizes she must go and get fruit to save her sister.

Petricor
Ludovico Einaudi & Daniel Hope
Album: Elements (Deluxe)

Lizzie journeys to the man.

The Whole Nine
Amon Tobin
Album: Verbal

Persephone (The Gathering of Flowers) [Remastered]
Dead Can Dance
Album: Within the Realm of a Dying Sun (Remastered)

ON SCREEN:
“Come buy

Lizzie dances with the Man.

I'm On Fire
Io Echo
Album: Io Echo

Lizzie tries to escape.

Drunken Butterfly
Sonic Youth
Album: Dirty (Deluxe Edition)

(filmed rope overlayed four times)

The man tries to force feed Lizzie but does not succeed.
Lizzie is triumphant.

Smoke & Mirrors
Ivy & Gold
Album: Smoke & Mirrors – EP

(static shot of street lamp)

Lizzie drains the juice into the mans cup. She walks home and arrives to give Laura the juice.
Laura is revived.

ON SCREEN:
She cried, “Laura,” up the garden,
Come and kiss me.
Never mind my bruises,
Hug me, kiss me, suck my juices
Eat me, drink me, love me;

Tris (feat. Ellie Goulding)
Junkie XL
Album: Divergent (Original Motion Picture Score)

ON SCREEN:
For your sake I have braved the glen
And had to do with goblin merchant men.

(mixed up letters made with those sheets of letters you scratch off onto an underneath surface)



FIN



     

Previous Posts
Its temple stands, alway,

The Woman in White

Twenty Fingers & No Thumbs & UBC's Barnett Hall

Her Grace is (not) all she has

Photographic Inspiration in Unpredictable Places

Standing Wave & Safeway Cardboard Bread

Inspiration by Limitation

Inertia

Waiting for Godot To Bang on My Drum

The Cellist in the Back of the Teatro Colón



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5/2/10 - 5/9/10

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5/16/10 - 5/23/10

5/23/10 - 5/30/10

5/30/10 - 6/6/10

6/6/10 - 6/13/10

6/13/10 - 6/20/10

6/20/10 - 6/27/10

6/27/10 - 7/4/10

7/4/10 - 7/11/10

7/11/10 - 7/18/10

7/18/10 - 7/25/10

7/25/10 - 8/1/10

8/1/10 - 8/8/10

8/8/10 - 8/15/10

8/15/10 - 8/22/10

8/22/10 - 8/29/10

8/29/10 - 9/5/10

9/5/10 - 9/12/10

9/12/10 - 9/19/10

9/19/10 - 9/26/10

9/26/10 - 10/3/10

10/3/10 - 10/10/10

10/10/10 - 10/17/10

10/17/10 - 10/24/10

10/24/10 - 10/31/10

10/31/10 - 11/7/10

11/7/10 - 11/14/10

11/14/10 - 11/21/10

11/21/10 - 11/28/10

11/28/10 - 12/5/10

12/5/10 - 12/12/10

12/12/10 - 12/19/10

12/19/10 - 12/26/10

12/26/10 - 1/2/11

1/2/11 - 1/9/11

1/9/11 - 1/16/11

1/16/11 - 1/23/11

1/23/11 - 1/30/11

1/30/11 - 2/6/11

2/6/11 - 2/13/11

2/13/11 - 2/20/11

2/20/11 - 2/27/11

2/27/11 - 3/6/11

3/6/11 - 3/13/11

3/13/11 - 3/20/11

3/20/11 - 3/27/11

3/27/11 - 4/3/11

4/3/11 - 4/10/11

4/10/11 - 4/17/11

4/17/11 - 4/24/11

4/24/11 - 5/1/11

5/1/11 - 5/8/11

5/8/11 - 5/15/11

5/15/11 - 5/22/11

5/22/11 - 5/29/11

5/29/11 - 6/5/11

6/5/11 - 6/12/11

6/12/11 - 6/19/11

6/19/11 - 6/26/11

6/26/11 - 7/3/11

7/3/11 - 7/10/11

7/10/11 - 7/17/11

7/17/11 - 7/24/11

7/24/11 - 7/31/11

7/31/11 - 8/7/11

8/7/11 - 8/14/11

8/14/11 - 8/21/11

8/21/11 - 8/28/11

8/28/11 - 9/4/11

9/4/11 - 9/11/11

9/11/11 - 9/18/11

9/18/11 - 9/25/11

9/25/11 - 10/2/11

10/2/11 - 10/9/11

10/9/11 - 10/16/11

10/16/11 - 10/23/11

10/23/11 - 10/30/11

10/30/11 - 11/6/11

11/6/11 - 11/13/11

11/13/11 - 11/20/11

11/20/11 - 11/27/11

11/27/11 - 12/4/11

12/4/11 - 12/11/11

12/11/11 - 12/18/11

12/18/11 - 12/25/11

12/25/11 - 1/1/12

1/1/12 - 1/8/12

1/8/12 - 1/15/12

1/15/12 - 1/22/12

1/22/12 - 1/29/12

1/29/12 - 2/5/12

2/5/12 - 2/12/12

2/12/12 - 2/19/12

2/19/12 - 2/26/12

2/26/12 - 3/4/12

3/4/12 - 3/11/12

3/11/12 - 3/18/12

3/18/12 - 3/25/12

3/25/12 - 4/1/12

4/1/12 - 4/8/12

4/8/12 - 4/15/12

4/15/12 - 4/22/12

4/22/12 - 4/29/12

4/29/12 - 5/6/12

5/6/12 - 5/13/12

5/13/12 - 5/20/12

5/20/12 - 5/27/12

5/27/12 - 6/3/12

6/3/12 - 6/10/12

6/10/12 - 6/17/12

6/17/12 - 6/24/12

6/24/12 - 7/1/12

7/1/12 - 7/8/12

7/8/12 - 7/15/12

7/15/12 - 7/22/12

7/22/12 - 7/29/12

7/29/12 - 8/5/12

8/5/12 - 8/12/12

8/12/12 - 8/19/12

8/19/12 - 8/26/12

8/26/12 - 9/2/12

9/2/12 - 9/9/12

9/9/12 - 9/16/12

9/16/12 - 9/23/12

9/23/12 - 9/30/12

9/30/12 - 10/7/12

10/7/12 - 10/14/12

10/14/12 - 10/21/12

10/21/12 - 10/28/12

10/28/12 - 11/4/12

11/4/12 - 11/11/12

11/11/12 - 11/18/12

11/18/12 - 11/25/12

11/25/12 - 12/2/12

12/2/12 - 12/9/12

12/9/12 - 12/16/12

12/16/12 - 12/23/12

12/23/12 - 12/30/12

12/30/12 - 1/6/13

1/6/13 - 1/13/13

1/13/13 - 1/20/13

1/20/13 - 1/27/13

1/27/13 - 2/3/13

2/3/13 - 2/10/13

2/10/13 - 2/17/13

2/17/13 - 2/24/13

2/24/13 - 3/3/13

3/3/13 - 3/10/13

3/10/13 - 3/17/13

3/17/13 - 3/24/13

3/24/13 - 3/31/13

3/31/13 - 4/7/13

4/7/13 - 4/14/13

4/14/13 - 4/21/13

4/21/13 - 4/28/13

4/28/13 - 5/5/13

5/5/13 - 5/12/13

5/12/13 - 5/19/13

5/19/13 - 5/26/13

5/26/13 - 6/2/13

6/2/13 - 6/9/13

6/9/13 - 6/16/13

6/16/13 - 6/23/13

6/23/13 - 6/30/13

6/30/13 - 7/7/13

7/7/13 - 7/14/13

7/14/13 - 7/21/13

7/21/13 - 7/28/13

7/28/13 - 8/4/13

8/4/13 - 8/11/13

8/11/13 - 8/18/13

8/18/13 - 8/25/13

8/25/13 - 9/1/13

9/1/13 - 9/8/13

9/8/13 - 9/15/13

9/15/13 - 9/22/13

9/22/13 - 9/29/13

9/29/13 - 10/6/13

10/6/13 - 10/13/13

10/13/13 - 10/20/13

10/20/13 - 10/27/13

10/27/13 - 11/3/13

11/3/13 - 11/10/13

11/10/13 - 11/17/13

11/17/13 - 11/24/13

11/24/13 - 12/1/13

12/1/13 - 12/8/13

12/8/13 - 12/15/13

12/15/13 - 12/22/13

12/22/13 - 12/29/13

12/29/13 - 1/5/14

1/5/14 - 1/12/14

1/12/14 - 1/19/14

1/19/14 - 1/26/14

1/26/14 - 2/2/14

2/2/14 - 2/9/14

2/9/14 - 2/16/14

2/16/14 - 2/23/14

2/23/14 - 3/2/14

3/2/14 - 3/9/14

3/9/14 - 3/16/14

3/16/14 - 3/23/14

3/23/14 - 3/30/14

3/30/14 - 4/6/14

4/6/14 - 4/13/14

4/13/14 - 4/20/14

4/20/14 - 4/27/14

4/27/14 - 5/4/14

5/4/14 - 5/11/14

5/11/14 - 5/18/14

5/18/14 - 5/25/14

5/25/14 - 6/1/14

6/1/14 - 6/8/14

6/8/14 - 6/15/14

6/15/14 - 6/22/14

6/22/14 - 6/29/14

6/29/14 - 7/6/14

7/6/14 - 7/13/14

7/13/14 - 7/20/14

7/20/14 - 7/27/14

7/27/14 - 8/3/14

8/3/14 - 8/10/14

8/10/14 - 8/17/14

8/17/14 - 8/24/14

8/24/14 - 8/31/14

8/31/14 - 9/7/14

9/7/14 - 9/14/14

9/14/14 - 9/21/14

9/21/14 - 9/28/14

9/28/14 - 10/5/14

10/5/14 - 10/12/14

10/12/14 - 10/19/14

10/19/14 - 10/26/14

10/26/14 - 11/2/14

11/2/14 - 11/9/14

11/9/14 - 11/16/14

11/16/14 - 11/23/14

11/23/14 - 11/30/14

11/30/14 - 12/7/14

12/7/14 - 12/14/14

12/14/14 - 12/21/14

12/21/14 - 12/28/14

12/28/14 - 1/4/15

1/4/15 - 1/11/15

1/11/15 - 1/18/15

1/18/15 - 1/25/15

1/25/15 - 2/1/15

2/1/15 - 2/8/15

2/8/15 - 2/15/15

2/15/15 - 2/22/15

2/22/15 - 3/1/15

3/1/15 - 3/8/15

3/8/15 - 3/15/15

3/15/15 - 3/22/15

3/22/15 - 3/29/15

3/29/15 - 4/5/15

4/5/15 - 4/12/15

4/12/15 - 4/19/15

4/19/15 - 4/26/15

4/26/15 - 5/3/15

5/3/15 - 5/10/15

5/10/15 - 5/17/15

5/17/15 - 5/24/15

5/24/15 - 5/31/15

5/31/15 - 6/7/15

6/7/15 - 6/14/15

6/14/15 - 6/21/15

6/21/15 - 6/28/15

6/28/15 - 7/5/15

7/5/15 - 7/12/15

7/12/15 - 7/19/15

7/19/15 - 7/26/15

7/26/15 - 8/2/15

8/2/15 - 8/9/15

8/9/15 - 8/16/15

8/16/15 - 8/23/15

8/23/15 - 8/30/15

8/30/15 - 9/6/15

9/6/15 - 9/13/15

9/13/15 - 9/20/15

9/20/15 - 9/27/15

9/27/15 - 10/4/15

10/4/15 - 10/11/15

10/18/15 - 10/25/15

10/25/15 - 11/1/15

11/1/15 - 11/8/15

11/8/15 - 11/15/15

11/15/15 - 11/22/15

11/22/15 - 11/29/15

11/29/15 - 12/6/15

12/6/15 - 12/13/15

12/13/15 - 12/20/15

12/20/15 - 12/27/15

12/27/15 - 1/3/16

1/3/16 - 1/10/16

1/10/16 - 1/17/16

1/31/16 - 2/7/16

2/7/16 - 2/14/16

2/14/16 - 2/21/16

2/21/16 - 2/28/16

2/28/16 - 3/6/16

3/6/16 - 3/13/16

3/13/16 - 3/20/16

3/20/16 - 3/27/16

3/27/16 - 4/3/16

4/3/16 - 4/10/16

4/10/16 - 4/17/16

4/17/16 - 4/24/16

4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

6/5/16 - 6/12/16

6/12/16 - 6/19/16

6/19/16 - 6/26/16

6/26/16 - 7/3/16

7/3/16 - 7/10/16

7/10/16 - 7/17/16

7/17/16 - 7/24/16

7/24/16 - 7/31/16

7/31/16 - 8/7/16

8/7/16 - 8/14/16

8/14/16 - 8/21/16

8/21/16 - 8/28/16

8/28/16 - 9/4/16

9/4/16 - 9/11/16

9/11/16 - 9/18/16

9/18/16 - 9/25/16

9/25/16 - 10/2/16

10/2/16 - 10/9/16

10/9/16 - 10/16/16

10/16/16 - 10/23/16

10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

2/5/17 - 2/12/17

2/12/17 - 2/19/17

2/19/17 - 2/26/17

2/26/17 - 3/5/17

3/5/17 - 3/12/17

3/12/17 - 3/19/17

3/19/17 - 3/26/17

3/26/17 - 4/2/17

4/2/17 - 4/9/17

4/9/17 - 4/16/17

4/16/17 - 4/23/17

4/23/17 - 4/30/17

4/30/17 - 5/7/17

5/7/17 - 5/14/17

5/14/17 - 5/21/17

5/21/17 - 5/28/17

5/28/17 - 6/4/17

6/4/17 - 6/11/17

6/11/17 - 6/18/17

6/18/17 - 6/25/17

6/25/17 - 7/2/17

7/2/17 - 7/9/17

7/9/17 - 7/16/17

7/16/17 - 7/23/17

7/23/17 - 7/30/17

7/30/17 - 8/6/17

8/6/17 - 8/13/17

8/13/17 - 8/20/17

8/20/17 - 8/27/17

8/27/17 - 9/3/17

9/3/17 - 9/10/17

9/10/17 - 9/17/17

9/17/17 - 9/24/17

9/24/17 - 10/1/17

10/1/17 - 10/8/17

10/8/17 - 10/15/17

10/15/17 - 10/22/17

10/22/17 - 10/29/17

10/29/17 - 11/5/17

11/5/17 - 11/12/17

11/12/17 - 11/19/17

11/19/17 - 11/26/17

11/26/17 - 12/3/17

12/3/17 - 12/10/17

12/10/17 - 12/17/17