Expo 67

The 1967 International and Universal Exposition or Expo 67, as it was commonly known, was a general exhibition, Category One World's Fair held in Montreal, Quebec, Canada, from April 27 to October 29, 1967. It is considered to be the most successful World's Fair of the 20th century with the most attendees to that date and 62 nations participating. It also set the single-day attendance record for a world's fair, with 569,500 visitors on its third day.

Expo 67 was Canada's main celebration during its centennial year. The fair had been intended to be held in Moscow, to help the Soviet Union celebrate the Russian Revolution's 50th anniversary; however, for various reasons, the Soviets decided to cancel, and Canada was awarded it in late 1962.

The project was not well supported in Canada at first. It took the determination of Montreal's mayor, Jean Drapeau, and a new team of managers to guide it past political, physical and temporal hurdles. Defying a computer analysis that said it could not be done, the fair opened on time.

Expo

Expo may refer to:

See also

Expo (album)

Expo is the second album from the Robert Schneider solo project Marbles and is the follow-up to the 1997 release Pyramid Landing (And Other Favorites). Whereas Pyramid Landing was a showcase of experimental pop songs, Expo focuses more sharply on electronic pop music, similar to that of Gary Numan, one of Schneider's influences on the Expo. Other influences include Electric Light Orchestra, Brian Eno, Phoenix and The Cars. The liner notes for the album state a dedication to "Marci and Max". The album was released in 2005.

Track listing

All tracks written by Robert Schneider.

Bonus material

On the CD release, there are six bonus mp3s that can be accessed by a computer. They include:

Expo (Stockhausen)

Expo, for three performers with shortwave receivers and a sound projectionist, is a composition by Karlheinz Stockhausen, written in 1969–70. It is Number 31 in the catalogue of the composer's works.

Conception

Expo is the penultimate in a series of works dating from the late 1960s which Stockhausen designated as "process" compositions. These works in effect separate the "form" from the "content" by presenting the performers with a series of transformation signs which are to be applied to material that may vary considerably from one performance to the next. In Expo and three companion works (Kurzwellen for six performers, Spiral for a soloist, and Pole for two), this material is to be drawn spontaneously during the performance from short-wave radio broadcasts (Kohl 1981, 192–93). The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performance to another as being "the same" (Kohl 2010, 137).