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




 

Leaning Towards Irrelevancy
Saturday, February 11, 2017




Essay by Richard Thompson Ford


 For some 18 years now, my Rosemary and I have enjoyed a daily breakfast in bed. We have a nice wicker tray we purchased at Eaton’s. Our breakfast fare is different but now 18 years later we have a couple of little dishes with our countless pills that reflect that we are old.

But the pleasure of reading our newspapers is the high point of the day. We have subscriptions to the NY Times and the Vancouver Sun. The protocol is that she starts with the NY Times while I immediately go to Rex Morgan in my Vancouver Sun.

Saturday is the day with the thinnest NY Times and the thickest Vancouver Sun. The NY Times compensates with the fact that we get the heavy Sunday edition on Saturday night. The usual conundrum, “Do we start it on Saturday night (in bed) or leave it to Sunday?”

Today it became patently obvious that our Vancouver Sun is steadily moving in the direction of irrelevancy. At 9AM there was no paper on the doorstep. Rosemary and I shared the thin NY Times. She started the first section with the scrumptious editorials, and me with the business and arts sections.

By the time I got to the editorial I found this fabulously illustrated essay on the Trump tie. Strangely the on-line version does not reproduce it and opts for a photograph of Trump with his trademark long red tie. The essay itself is a sartorial delight.

As my life fades into the irrelevancy of old age, I wonder who is going to go first?  Will it be me or my Vancouver Sun?




Nevertheless She Persisted - For Allan Morgan - My Prospero
Friday, February 10, 2017




Rosemary Brown

The events in our neighbour to the South break my heart but I have resolved not to rant or complain particularly in social media. Such is the volume of the rants and concerns by my Facebook friends that my friend John Lekich refuses to read anything about them stating that it makes him forget that he is a Canadian and that he is living in Canada. Social media blurs those borders.

I was particularly moved by my friend Allan Morgan whom I call my Prospero (a role he played so well) who posted a photograph of Rosemary Brown with the rallying cry (about Senator Elizabeth Warren made to shut up by the McConnel) that is barely two days old, “nevertheless she persisted”
Here is my photograph of Rosemary Brown which I took sometime in the 80s in a series for Women of Distinction.


Sarah Rodgers & Allan Morgan


The other photograph, one of my faves ever (a Polaroid peel scan), is of Allan Morgan and Sarah Rodgers in their roles in Angels in America.

The pathos in their faces is heart wrenching. I reused the photograph for this blog about Allan Morgan's role as Prospero in Bard on the Beach's The Tempest.



El Reloj de Arena - The Hour Glass - Jorge Luís Borges
Thursday, February 09, 2017

Rosemary Elizabeth Waterhouse-Hayward - 1968


One day after our 49th wedding anniversary - Un día después de nuestro aniversario de bodas




The Hourglass, by Jorge Luis Borges (la poesía de Borges en castellano a continuación)

It is appropriate that time be measured
by the stark shadow cast by a stake in summer
or by the flow of water in the river
where Heraclitus saw time’s ironies

since, seen as time and fate, they are alike:
the movement of the mindless daytime shadow
and the irrevocable running on
of river water following its flow.

Just so, but time discovered in the deserts
another substance, smooth and of some weight,
that seemed to have been specifically imagined
for measuring out the ages of the dead.

And so appears this instrument of legend
in the engravings in the dictionary,
an object graying antiquarians
will banish to a dusty underworld

of things— a single chessman, a broadsword,
now lifeless, and a clouded telescope,
sandalwood worn away by opium,
a world of dust, of chance, of nothingness.

Who has not hesitated, seeing that hourglass,
severe and sombre, in the god’s right hand,
accompanying the scythe he also handles,
the image Dürer copied in his drawing?

Through a top opening, the inverted cone
slowly lets fall the wary grains of sand,
a gradual gold that, loosening, fills up
the concave crystal of its universe.

Pleasure there is in watching how the sand
slowly slithers up and makes a slope
then, just about to fall, piles up again
with an insistence that appears quite human.

The sand of every cycle is the same
and infinite is the history of sand;
so, underlying your fortunes and your sorrows,
yawns an invulnerable eternity.

It never stops, the spilling of the sand.
I am the one who weakens, not the glass.
The rite of the falling sand is infinite
and, with the sand, our lives are leaving us.

In the timing of the sand, I seem to feel
a cosmic time: all the long history
that memory keeps sealed up in its mirrors
or that has been dissolved by magic Lethe.

All these: the pillar of smoke, the pillar of fire,
Carthage, Rome, and their constricting wars,
Simon Magus, the seven feet of earth
the Saxon offers the Norwegian King—

all are obliterated, all brought down
by the tireless trickle of the endless sand.
I do not have to save myself— I too
am a whim of time, that shifty element.


Está bien que se mida con la dura
Sombra que una columna en el estío
Arroja o con el agua de aquel río
En que Heráclito vio nuestra locura

El tiempo, ya que al tiempo y al destino
Se parecen los dos: la imponderable
Sombra diurna y el curso irrevocable
Del agua que prosigue su camino.

Está bien, pero el tiempo en los desiertos
Otra substancia halló, suave y pesada,
Que parece haber sido imaginada
Para medir el tiempo de los muertos.

Surge así el alegórico instrumento
De los grabados de los diccionarios,
La pieza que los grises anticuarios
Relegarán al mundo ceniciento

Del alfil desparejo, de la espada
Inerme, del borroso telescopio,
Del sándalo mordido por el opio
Del polvo, del azar y de la nada.

¿Quién no se ha demorado ante el severo
Y tétrico instrumento que acompaña
En la diestra del dios a la guadaña
Y cuyas líneas repitió Durero?

Por el ápice abierto el cono inverso
Deja caer la cautelosa arena,
Oro gradual que se desprende y llena
El cóncavo cristal de su universo.

Hay un agrado en observar la arcana
Arena que resbala y que declina
Y, a punto de caer, se arremolina
Con una prisa que es del todo humana.

La arena de los ciclos es la misma
E infinita es la historia de la arena;
Así, bajo tus dichas o tu pena,
La invulnerable eternidad se abisma.

No se detiene nunca la caída
Yo me desangro, no el cristal. El rito
De decantar la arena es infinito
Y con la arena se nos va la vida.

En los minutos de la arena creo
Sentir el tiempo cósmico: la historia
Que encierra en sus espejos la memoria
O que ha disuelto el mágico Leteo.

El pilar de humo y el pilar de fuego,
Cartago y Roma y su apretada guerra,
Simón Mago, los siete pies de tierra
Que el rey sajón ofrece al rey noruego,

Todo lo arrastra y pierde este incansable
Hilo sutil de arena numerosa.
No he de salvarme yo, fortuita cosa
De tiempo, que es materia deleznable.
 



An Officer and a Gentleman & An Anniversary
Wednesday, February 08, 2017




Granville Island Hotel - February 1982

 When it became February 1982 I made sure that this time I was not going to forget an important date. I reserved a room at the Granville Island Hotel and stipulated that I had to find a bottle of Champagne in the hotel room after we checked in. I made sure we had a good baby sitter to take care of our two daughters. I drove my wife Rosemary on February the 8th from our Burnaby home to the movies downtown. We were going to see An Officer and a Gentleman with Richard Gere and Debra Winger.

After this most romantic film we checked into the hotel. By now Rosemary had not doubt that I had not forgotten our wedding anniversary. The bottle of  Champagne was there in its bucket.

I must state here that we did not get a good night’s sleep. And it’s not what you think. We were unaware that good hotels had in suite refrigerators. This one made ice all night. The clunking was terrible.



Today January 12, 2017 I had to ask Rosemary when our anniversary is. Shame on me! Perhaps I can think of something as we celebrate our 49th wedding anniversary which is today February 8, 2017



el ayelmado tripolio que ademenos es de satén rosa
Tuesday, February 07, 2017


el ayelmado tripolio que ademenos es de satén rosa


La InmiscusióN Terrupta De Julio CortáZar

    
La inmiscusión terrupta es un pequeño cuento extraído del libro "Último Round",1969 de Julio Cortázar. Éste es un texto muy peculiar ya que casi todas las palabras son inventadas, es difícil de entender pero vale la pena leerlo.

Como no le melga nada que la contradigan, la señora Fifa se acerca a la Tota y ahí nomás le flamenca la cara de un rotundo mofo. Pero la Tota no es inane y de vuelta le arremulga tal acario en pleno tripolio que se lo ladea hasta el copo.

– ¡Asquerosa! – brama la señora Fifa, tratando de sonsonarse el ayelmado tripolio que ademenos es de satén rosa. Revoleando una mazoca más bien prolapsa, contracarga a la crimea y consigue marivorearle un suño a la Tota que se desporrona en diagonía y por un momento horadra el raire con sus abrocojantes bocinomias. Por segunda vez se le arrumba un mofo sin merma a flamencarle las mecochas, pero nadie le ha desmunido el encuadre a la Tota sin tener que alanchufarse su contragofia, y así pasa que la señora Fifa contrae una plica de miercolamas a media resma y cuatro peticuras de esas que no te dan tiempo al vocifugio, y en eso están arremulgandose de ida y de vuelta cuando se ve precivenir al doctor Feta que se inmoluye inclótumo entre las gladiofantas.

– ¡Payahás, payahás! – crona el elegantiorum, sujetirando de las desmecrenzas empebufantes. No ha terminado de halar cuando ya le están manocrujiendo el fano, las colotas, el rijo enjuto y las nalcunias, mofo que arriba y suño al medio y dos miercolanas que para qué.

– ¿Te das cuenta? – sinterrunge la señora Fifa.

– ¡El muy cornaputo! – vociflama la Tota.

Y ahí nomás se recompalmean y fraternulian como si no se hubieran estado polichantando más de cuatro cafotos en plena tetamancia; son así las tofitas y las fitotas, mejor es no terruptarlas porque te desmunen el persiglotio y se quedan tan plopas.

Julio Cortázar lee su Inmiscusión Terrupta




Monday, February 06, 2017


Werner Herzog


In 1958 I bought my second camera, a very good one for the time. It was a single lens reflex Pentacon-F when people were still arguing of the advantage of an SLR over the more common rangefinder cameras.

The paradox about being a photographer is that we (or at least this one) is conservative and likes stuff to stay the same while being excited about new stuff and experimenting with it. A photographer who does not do personal stuff, is dead in the water.

I taught high school in Mexico until 1975 when my Canadian wife told me (she was an early feminist) that all of us including our two Mexican-born daughters were moving to Vancouver.

By 1977 I was shooting for several magazines including  Vancouver Magazine and several business magazines.It was at Vancouver Magazine where I met up with two art directors, Richard Staehling and Chris Dahl who forced me to push my boundaries. They asked me do photographs with some effect they had seen in art magazines.

For those reading this now is when I want to press the point that the advent of photography had a small audience as these photographs (ambrotypes, Daguerreotypes, Talbot Types, etc could not be reproduced in the newspapers of the 19th century until the late 1870s when the half-tone process was invented. The previous method, the photogravure, while beautiful was much too expensive for everyday use.

What this means really is that the newspapers by the end of the 19th century and the magazines of the 20th had the money to compete for excellence and they all vied for originality. These publications wanted unique images. It was not uncommon to send photographers to circle the globe to shoot and to be paid royal wages. It was Bert Stern who in the 1950s convinced Smirnoff that Americans would only believe that a dry vodka martini was dry if it was photographed by the Egyptian pyramids. The company paid for all the hangers on, the plush hotels, the drugs and the booze. It was Stern who became the poster man that proclaimed the free-lance photographers got rich, could get boys and women of their choice plus all the drugs.

This excellence in magazine competition just about ended by the end of th 20th century with the advent of the internet.

Why pay Stern to send him to the pyramids when they could be Photoshopped in a studio shot?
In my view the Holy Grail of photography has always been the readily identifiable style of the photographer. You know it’s a Penn, an Avedon, a Leibovitz, Newton, Stern, Eugene Smith, Burke-White, etc when you see their images.

I believe that if Cartier-Bresson where to come to Vancouver (if he happened to be alive) he would be on employment insurance within a month. His photography and that of, as an example Robert Frank’s The Americans were fabulous precursors of the street photography we see today. Now it is just about impossible to note the style of the modern street shooters. One wonderful exception was Mary Ellen Mark. Her photograph of couple of teenagers with a gun taken with an extreme wide angle, really close has the impact of a photographer who did not sneak to take her pictures and was fearless.

Thus the 21st century as it is now is a difficult time for the photographer. Someone with insight may have to push forward with some unheard (now) style and method) in this era of fake news where we look at pictures and do not believe their apparent authenticity. I notice that few photographers use lighting except the one made available by nature. Shooting rock concerts is another situation where the photographer is powerless in injecting style. Camera ads parade the idea that with a Nikon or Canon wonder in your hand you can do everything and anything.

For me the breakthrough came in two paths. One path was to choose to shoot in a studio or on location with a big light. I rapidly graduated from umbrellas to softboxes, to Hollywood spotlights, grid spots, ring flashe and beauty dishes. The light that made it all possible was the venerable Norman 200-B.

The second path was to buy a Mamiya RB-67 around 1979 when most photographers who shot medium format went for the more expensive Hasselblads. What they did not understand (and the art directors I worked for did) was that the 6x7 cm format (the camera back can be flipped for vertical or horizontal shots) worked well for magazine covers, full bleed vertical pages and two-page spreads with copy on part of one page.’

My photographs were never cropped by art directors (I shot everything vertical and horizontal, just in case). Hasselblad shooters with their square format may have made money with album covers!
Another, and to me a more important path to success was to research my subjects before I photographed them. The idea when you have just a few minutes to photograph someone is to shoot three or four useable shots taken perhaps in seconds after spending more time connecting verbally.
I share with Argentine writer and poet Jorge Luís Borges the idea that soaking in a hot bathroom tub is the place to come up with concepts. The same goes for middle-of-the-night insomnia. They provide ripe time for innovation and imagination.

And lastly photography for magazines is like fishing. You can never talk (and get away) with pointing out the large fish that got away. When folks asked me for a formula of success for people magazine photography I always wrote this:

1. Make your appointment with your subject politely and without insult.
2. Show up on time. This precludes going on a previous day to explore the area you will be shooting in.
3. Take two of everything. Failure of equipment is not to be tolerated. I have always had backup in a very good support staff.
4. Give the art director one useable image – one that did not get away.

Number 4 and number 3 were dependant on the fact that in the magazine and newspaper era before scanners, original photographs had to be taken with colour slides or larger transparencies. Slides always had poor allowance for exposure error (it is called film latitude). There was one advantage, the art director was always looking at an original without the possibility (rare) of any photographer manipulating its veracity of color, etc. Now images look different on different monitors. Digital in many respects has made it more difficult to determine the photographer’s intention.




     

Previous Posts
Lee Lytton III & Friendly & Warm Ghosts

San Valentín

From Simple To Complex

Leaning Towards Irrelevancy

Nevertheless She Persisted - For Allan Morgan - My...

El Reloj de Arena - The Hour Glass - Jorge Luís Bo...

An Officer and a Gentleman & An Anniversary

el ayelmado tripolio que ademenos es de satén rosa...

For Susanne Tabata's Media Class At the Art Instit...

Linda Melsted - The Music in the Violin does not e...



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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