Director Paul Stone’s documentary tells the story of a Pete Vallee, a 960-pound Elvis impersonator who is convinced that he’s Elvis Presley’s secret love child.
Big Elvis from Paul Stone on Vimeo.
Director Paul Stone’s documentary tells the story of a Pete Vallee, a 960-pound Elvis impersonator who is convinced that he’s Elvis Presley’s secret love child.
Big Elvis from Paul Stone on Vimeo.
Double digits have never felt so good. Celebrating their 10th birthday in style, Canada’s favourite alternative duo USS have announced a 2018 fall headlining tour. Rolling out a new single – MEDICINE – earlier this month, USS has proven that they are exactly what the doctor ordered. MEDICINE was the Most Added song at Alternative Radio two weeks in a row, and was added to the Spotify Viral 50 in its first week of release.
Hitting the road in October, the band will perform 16 shows before year’s end. “We’ve taken time away from the road and it’s been great for our writing process,” said the band. “We couldn’t think of a better way to celebrate our 10th birthday than heading out on the road and reconnecting with the fans who have made this incredible decade possible.”
Creating an impressively unique sound by combining electro-pop and drum and bass with hip-hop and modern rock, USS boasts an impressive 10 year career since their debut album Welding the C:/ in 2008. Taking the time to grow their Canadian fanbase with the releases of Questamation and APPROVED, the band saw the release of their fourth and fifth albums (Advanced Basics (2014), New World Alphabet (2017)) earning them international distribution and recognition.
With seven Top 10 singles on the Canadian Rock/Alternative Chart including their highest charting single “Work Shoes,” USS has become recognized as a success around the globe. 2017 saw the duo tour Japan for the first time, and they made several trips to Europe, playing a combination of headline shows and festivals.
With an epic headlining tour just around the corner, USS will gift fans with the official video premiere for MEDICINE on June 25th. The duo will then spend the summer playing a handful of festivals before they kick-off of their 16-city fall tour which will kick off in Ottawa on October 22.
October 22 Ottawa, ON Algonquin Commons Theatre
October 28 Toronto, ON Rebel
October 30 Kitchener, ON Elements
November 1 London, ON London Concert Theatre
November 2 Guelph, ON Guelph Concert Theatre
November 6 Winnipeg, MB The Pyramid Cabaret
November 9 Calgary, AB The Palace
November 13 Vancouver, BC Commodore Ballroom
November 16 Edmonton, AB Shaw Conference Centre
Starr Carter is constantly switching between two worlds: the poor, mostly black, neighborhood where she lives and the rich, mostly white, prep school she attends. The uneasy balance between these worlds is shattered when Starr witnesses the fatal shooting of her childhood best friend Khalil at the hands of a police officer. Now, facing pressures from all sides of the community, Starr must find her voice and stand up for what’s right. THE HATE U GIVE is based on the critically acclaimed New York Times bestseller by Angie Thomas and stars Amandla Stenberg as Starr, with Regina Hall, Russell Hornsby, Issa Rae, KJ Apa, Algee Smith, Sabrina Carpenter, Common and Anthony Mackie. It hits theaters Oct. 19.
Pink Floyd, reunited with former bassist/lyricist Roger Waters for the first time in over 24 years.The complete foursome had not performed together since a show at Earls Court in London on 17 June 1981.
Roger Waters’ relationship with David Gilmour was so distant in the period before Pink Floyd’s celebrated reunion at Live 8 that Waters had to ask organizer Bob Geldof for his former bandmate’s phone number.
While Geldof had been persistent in trying to broker peace between the pair, he’d hit an initial roadblock with Gilmour – who once referred to a possible detente as something akin to “sleeping with your ex-wife.” Waters then interceded. Ultimately, the event’s mission – Live 8 was meant to raise awareness of poverty, debt and the AIDS crisis in developing nations – led to one of music’s most improbable remarriages, though only for a single evening.
“The moment was bigger than those bad feelings,” David Gilmour told the Associated Press in the days leading up to Pink Floyd’s July 2, 2005, appearance. “Any squabbles Roger and the band have had in the past are so petty in this context, and if reforming for this concert will help focus attention, then it’s going to be worthwhile.”
And so Pink Floyd’s classic-era lineup – Gilmour, Nick Mason, Waters and Richard Wright – took the stage for the first time since a 1981 concert at Earl’s Court in London and, alas, for the last time ever.
“It’s great to be asked to help Bob raise public awareness on the issues of third-world debt and poverty,” Waters enthused as the day drew near. “The cynics will scoff. Screw ’em! Also, to be given the opportunity to put the band back together, even if it’s only for a few numbers, is a big bonus.”
To no one’s surprise, Pink Floyd’s reunion eclipsed a star-packed lineup at the London Hyde Park show, which also included Paul McCartney, the Who, Elton John, Madonna, R.E.M., U2, Coldplay and Robbie Williams. Live 8, scheduled to sync up with the 20th anniversary of Live Aid, also featured six other events through July 6. Bon Jovi, Stevie Wonder, Dave Matthews, Jay-Z and others performed at Philadelphia. Brian Wilson, and Crosby Stills and Nash appeared in Berlin. Duran Duran and Tim McGraw were among the headliners in Rome. Annie Lennox performed at Edinburg as the G8 summit — a gathering of international leaders where debt cancellation and aid would be discussed — kicked off.
For Pink Floyd, however, the most immediate concern was far more small scale: getting the songs right. “It’s sort of assumed that we’ll all remember how they go,” Mason impishly admitted.
By all accounts, everyone was on their best behavior as three days of pre-show rehearsals unfolded. “There were times when Roger was struggling to not get bossy, and I was struggling to keep being bossy,” Gilmour said at the time. “I saw how arguments could have happened, but we aren’t at each other’s throats anymore. Getting rid of that acrimony has got to be a good thing. Who wants to have that fester in your mind the rest of your life
Still, there was the matter of a set list. And it was there where the former bandmates – two decades after an ugly legal battle over the rights to the Pink Floyd name — once again clashed.
Gilmour steadfastly refused to play Pink Floyd’s most recognizable radio hit, “Another Brick in the Wall,” deeming its anti-education message inappropriate for the moment. “Anyway, I don’t like it much. It’s all right but not part of the great emotional oeuvre,” Gilmour said, in a 2006 interview. “The songs that Roger wanted were not the ones I thought we should do. The arrangements of the songs were not the way Roger wanted to do them. But I kind of insisted.”
In the end, Pink Floyd were restricted, like all of the other artists performing at Live 8, to a short, 20-minute set. Even a reunion 24 years in the making was only a mere portion of the larger production. So the band settled on four songs: “Breathe” and “Money” from 1973’s The Dark Side of the Moon, “Wish You Were Here” from the 1975 album of the same name and “Comfortably Numb” from 1979’s The Wall, Pink Floyd’s penultimate recording with Waters. They left aside music from the two Gilmour-led Pink Floyd albums that followed the acrimonious split.
Waters made reference to the band’s original leader, the late Syd Barrett, even as he framed the larger reasons Pink Floyd had decided to reunite. “It’s actually quite emotional to be standing up here with these three guys again, after all these years – standing to be counted with the rest of you,” Waters said amid the opening strains of “Wish You Were Here.” “Anyway, we’re doing this for the people who’re not here – and particularly, of course, for Syd.”
PK Sound CEO Jeremy Bridge demos his new system that funnels concert sounds directly to festival audiences and away from neighbouring areas.
All photos by Mini’s Memories. You can contact her at minismemories@hotmail.com






















The Yamaha DX7 is an FM synthesis-based digital synthesizer and electronic keyboard manufactured by the Yamaha Corporation from 1983 to 1989. It was the first commercially successful digital synthesizer, and its distinctive sound can be heard on many recordings, especially pop music and dance music from the 1980s. Its preset sounds were particularly popular due to the difficulty of FM synthesis programming combined with the immediacy of the stock (preset) DX7 sounds, meaning that players tended to perform and record with the sounds they had at their fingertips. These stock sounds ultimately proliferated to the point that they were regarded as clichéd by the end of the 1980s.
All photos by Mini’s Memories. You can contact her at minismemories@hotmail.com













This holiday season, Academy Award winner Robert Zemeckis — the groundbreaking filmmaker behind Forrest Gump, Flight and Cast Away — directs Steve Carell in the most original movie of the year. Welcome to Marwen tells the miraculous true story of one broken man’s fight as he discovers how artistic imagination can restore the human spirit.
When a devastating attack shatters Mark Hogancamp (Carell) and wipes away all memories, no one expected recovery. Putting together pieces from his old and new life, Mark meticulously creates a wondrous town where he can heal and be heroic. As he builds an astonishing art installation—a testament to the most powerful women he knows—through his fantasy world, he draws strength to triumph in the real one.
In a bold, wondrous and timely film from this revolutionary pioneer of contemporary cinema, Welcome to Marwen shows that when your only weapon is your imagination…you’ll find courage in the most unexpected place.
The epic drama is produced by Oscar-winning producer Steve Starkey (Forrest Gump, Flight), Jack Rapke (Cast Away, Flight), and Cherylanne Martin (The Pacific, Flight) of Zemeckis’ Universal-based ImageMovers banner produce alongside the director. It is executive produced by Jackie Levine, as well as Jeff Malmberg, who directed the riveting 2010 documentary that inspired the film.