. 64 in North America. 16 in Europe. 5 in Asia. 3 in South America. 88 in total Attendance 808,667 (81 shows) Box office $41.8 million (81 shows) concert chronology.

• Westmount Secondary On Twitter: And The Grand Total Is Raised For Mac Free

(2013). The Honeymoon Tour (2015). (2017) The Honeymoon Tour was the second concert tour and debut arena tour by singer and actress, in support of her second studio album, (2014).

Officially announced on September 10, 2014, it traveled across North America, Europe, Asia, and South America. It began on February 25, 2015 in, and concluded on October 25, 2015 in, Brazil. Contents. Background On June 5, 2014, about a month before the release of ', the second single from (2014), Grande confirmed plans of a tour in support of the upcoming album via her account. Through her account, Grande stated that she had signed her tour contract and will be visiting continents other than North America, therefore making the tour her first world tour.

During this time, there were many rumors of fellow recording artist joining Grande on tour due to their massive success on Grande's track, ', but these rumors were proven false when Grande and Azalea announced separate headlining tours in September and December, respectively. About a week after the release of My Everything, on September 10, 2014, Grande officially announced the tour's title, which is a reference to the opening track off of Grande's debut album, (2013), and the tour's North American leg. The first leg, which was promoted by, visited twenty-six cities across North America beginning on February 25, 2015 in and concluding on April 16, 2015 in, Canada. Tickets for the first leg of the tour went on sale to the general public on September 20, 2014 through Live Nation's website.

Supporting acts for the North American leg included English band, who were promoting their debut studio album, (2015), and Norwegian DJ. The European leg of the tour was announced on November 17, 2014, which was about a week after Grande's performance and multiple wins at the, held in, Scotland. The second leg of the tour started on May 14, 2015 in Paris, France and ended a month later on June 16, 2015 in, Spain.

Tickets for the second leg of the tour became available to the public four days after the announcement, on November 21, 2014. In the months leading up to the tour, Grande had been publicly tweeting to her followers from teasing them about the tour. To show her devotion for the tour, Grande tweeted 'These rehearsals are kicking my ass but I love it. Really want to make this show the best I'm capable of.'

Grande also shared a video from rehearsals that features her practicing with Mi.Mu Gloves, which she will be using onstage during her performances. Mi.Mu Gloves, which were designed and created by, are used to alter the wearer's voice by moving their hands in different directions. In the rehearsal video, Grande can be seen singing chords from songs such as 'Why Try' while practicing with the technologically advanced gloves. In another rehearsal video posted through the tour's official page, Grande shared the band arrangement of ', the fifth and final single from My Everything, which includes an extended string intro and raised key change. On February 25, 2015, Grande shared an video of a conversation between herself and her now-deceased grandfather, in which he gives her advice and shows support of her career.

It was then revealed during the opening night show that the same video posted is a part of a tribute dedicated to Grande's grandfather that takes place during every concert before she sings the ballad, 'My Everything'. Also during the opening night of the tour, Cashmere Cat debuted a new collaboration between himself and Grande, which they had hinted at on Twitter weeks before the tour officially started. About a week after the tour had started, the song, officially titled ', was released to and became available to stream on on March 3, 2015. Commercial reception Shortly after the tickets for the first leg of the tour went on sale, noted increasingly huge ticket prices for the tour. Jesse Lawrence from the business magazine reported that the average ticket price for the tour was about $225 on the secondary market after a couple of days of being on sale. He also mentioned that the most expensive date for the tour was in New York City with a price of $341 per ticket, which was 51% above the tour's ticket average on the secondary market.

Also in his report, Lawrence mentioned that the cheapest show, which was in, had an average ticket price of $191, which was only 15% below the tour's average price per ticket on the secondary market. Also noted in the article was that the rising ticket prices of Grande's tour had surpassed the ticket prices of fellow pop stars.

Tickets for Perry's (2014–2015) averaged about $216 on the secondary market, which was 4% below Grande's tour average, and tickets for Gaga's (2014) were about $169 per ticket on the secondary market, which was around 25% lower than Grande's tour average at the time. However, in the following months the average ticket prices for the tour began to drop gradually.

In late September 2014, the average price for a ticket on the secondary market was $201 according to. The most expensive date on the secondary market had changed from New York City to with a total of $456 per ticket. A couple months later, in January 2015, it was reported that the average ticket price on the secondary market had dropped again, cashing in at about $178 per ticket on the secondary market. By February 2015, the average ticket price for Grande's tour dropped to a total of $168 per ticket. The most expensive date shifted back to New York City and the least expensive date changed from Dallas to, with a price of $91 per ticket, which was 44% below the tour's average price per ticket at the time.

In comparison to other pop stars, Grande fell behind the likes of Perry and, but managed to top other artists such as. Trainor's (2015) averaged about $147 per ticket on the secondary market, which was 12.5% below Grande's average price per ticket.

On the other end of the spectrum, Perry's tickets increased slightly to an average of $221 per ticket, and Swift's tickets for the (2015) added up to a total of $294 per ticket on the secondary market. At the end of 2015, the tour placed at number 40 on 's '2015 Year-End Top 100 Worldwide Tours' list, grossing $41.8 million from 81 shows with a total attendance of 808,667. Concert synopsis The concert starts with a video introduction showing Grande talking about the tour and leads into a minute-long countdown. She emerges from the stage to perform ' in a black bodysuit with a transparent skirt, followed by 'Hands on Me'. A short string interlude from the 'Honeymoon Band' follows, which eventually transitions to ', which sees the screens splitting with her atop a floating cloud prop wearing a jacket designed to match with the backdrop behind her.

She then performs the songs 'Break Your Heart Right Back' and 'Be My Baby' before leaving the stage for a costume change. The next act starts with the hype man of the tour, also Grande's co-musical director 'DJ Dubz' tap-dancing and leads to a video interlude showing Grande getting ready for an unknown event in front of a mirror. This leads to the screens splitting once again and sees Grande riding a chandelier, wearing a sparkly short fringe-style dress accompanied with a feather boa, which drops her on the stage to perform ', then performing the song ' and eventually announcing she will be singing a very old song, 'Pink Champagne', followed by the song 'Tattooed Heart' before exiting the stage for a costume change.

The next act starts with an interlude from the band, which leads to the screen showing the beginning of the music video for Grande's song ', which she performs after in a silver two piece similar to the one she wore earlier, accompanied by a plain dark teal hood (white for later shows). Another video interlude follows, which shows artist showing off Mi.Mu gloves and explaining how they work, which is followed by Grande using the gloves on-stage while performing 'Why Try'. This is followed by another video interlude which shows a conversation between Grande and her now-deceased grandfather, then singing 'My Everything', where she sits on top of a white grand piano wearing a long transparent attachable covered in fake white roses.

She proceeds to perform 'Just a Little Bit of Your Heart' in which after she leaves the stage. After an interlude from the crew dancing to her song 'Lovin' It', she performs ' which sees her atop a pedestal above the stage, followed by performing ' with a very upbeat and overworked choreography. This is followed by Grande thanking the audience for coming to the show before performing and she goes down the stage yet again. A video interlude features the beginning of the music video for ', which she performs after and then exits the stage. For the encore, after around one minute of silence, the screen displays a spinning spiral in the form of black and white lines. This transitions to ' in which Grande wears a black and white dress, reminiscent of the song's music video.

Near the end of the performance, black and white confetti fell onto the audience. After the song, Grande thanks the audience and leaves the stage.

Critical response. Grande, during the tour, in Jakarta In a positive review of the opening show in, Timothy Finn of gave Grande praise for her energy and enthusiasm when singing and dancing along with her crew. Finn described the show as an 'extravagant mix of music, dance, lasers, videos, pyrotechnics, and costume changes, akin to the kinds of audio-visual spectacles delivered by fellow pop-divas like and.'

He also noted that even though Grande proclaimed to be nervous, it didn't show. One complaint made by Finn was the level of volume in the arena.

He proclaimed 'The sound was an issue at times, mostly due to high volume.' He went on to say that 'During a few songs, it was so loud her voice was hard to hear over the music and other noise and lyrics were hard to decipher.'

In another positive review, Jhon Moser of stated that 'Grande's concert at Philadelphia's was very good largely because of her voice', and said 'she's simply one of the most pristine, technically talented singers in all of music.' Moser goes on to say 'from the opening 'Bang Bang,' she immediately showed off her singing chops, offering skyrocket vocals amid actual fireworks.' Moser enjoyed the show, but said 'despite its grandeur, that presentation never upstaged the music. The biggest reason for that was that Grande's four-octave voice was more than grand in itself – high and clear, hitting an ethereal note, and even doing some speedy rapping, on 'Be My Baby.' Morse too praised Grande for her 'stratospheric vocals' on Pink Champagne's performance.

He continued on to say that 'Grande clearly feels comfortable in her talent. She danced free-spirited and without inhibition, even in tall black heels on 'Break Your Heart Right Back.' Moser liked the idea of making a proper show, 'she successfully walked the line between sensuous and appropriate for the largely young-teen audience.

And said 'she also succeeded in making the concert classy instead of hyper-sexualized as most post-Disney and Nickelodeon singers have.' Piet Levy of the criticized the show heavily by stating Grande 'isn't ready for the big leagues.' Elaborating on his comment, Levy goes on to say that the performance 'didn't signify the birth of the next superstar.

Most of the time, it felt like a dress rehearsal.' Levy continued to pick apart the performance by stating it was 'uninspired and misguided', while also commenting Grande's 'confused, uncertain, insecure' presence throughout the show. He also noted that Grande seemingly held back vocally on songs such as ' and 'Why Try', which he also criticized for the use of the Mi.Mu Gloves stating 'Who honestly thought chopping up and electronically manipulating Grande's pretty voice was a good idea?' Despite the harsh criticism, Levy applauded Grande for her 'sensational vocals' during performances of the ballads 'My Everything' and 'Just a Little Bit of Your Heart'.

In another mixed review from Jon Bream of the, Bream simply stated that 'Grande's not big enough to pull off an arena spectacle.' He continued on to say that the performance 'was too busy, dimly lit and just ill conceived.' He also felt that 'The emphasis should have been on the vocals, Grande's forte, and not on overcooked attempts at pizazz.'

Then he said praising the singer 'what you want from Grande in concert is grand vocalizing, that four-octave range cascading with deep emotion. At times, it was evident, especially when there were no dancers onstage'. Bream went on to compare some of the tour's aspects to the likes of Katy Perry, and, but not in a positive way. He also disliked the use of the Mi.Mu Gloves by stating 'With such a terrific voice in an era of few stand-out female voices, why would Grande want to muck things up with technology?' Bream too praised Grande for her outstanding vocals on the track 'Just a Little Bit of Your Heart' stating 'It was her most focused and heartfelt vocal of the evening.'

Bream also complimented Grande on her 'prodigious pipes' during up-tempo pieces such as ', 'Grande displayed her prodigious pipes on up-tempo pieces, too, including 'Love Me Harder', which started with her alone atop a pedestal that rose at the back of the stage.' Set list This set list is representative of the concert on February 28, 2015. It does not represent all concerts for the duration of the tour. The March 17, 2015 concert in at was part of the 2015.

The June 6, 2015 concert in London, England at was part of the 2015. The June 28, 2015 concert in New York City at Pier 26 was part of the 2015. ^ The August 15, 2015 concert in, Japan at the and the August 16, 2015 concert in, Japan at the Maishima Sports Island were both part of the.

The September 10, 2015 concert in at the was originally planned to take place on September 6, but was rescheduled due to Grande's illness. References. Retrieved January 8, 2016. Grande, Ariana.

Retrieved March 15, 2015. Adejobi, Alicia (June 5, 2014). Retrieved January 28, 2015. Walker, John (September 10, 2014). Retrieved January 28, 2015. Edwin, Ortiz (September 10, 2014). Rich Antoniello.

Retrieved January 28, 2015. Anderson, Trevor (September 22, 2014). Retrieved January 28, 2015. Heath, Olivia (November 17, 2014).

Retrieved January 28, 2015. Lindner, Emilee (January 16, 2015). Retrieved January 28, 2015.

Szubiak, Ali (January 12, 2015). Retrieved January 28, 2015. Menyes, Carolyn (February 3, 2015). Music Times LLC. Retrieved March 1, 2015. Kaufman, Gil (February 25, 2015).

Retrieved March 1, 2015. Roth, Madeline (February 26, 2015). Retrieved March 1, 2015. Lindner, Emilee (March 3, 2015). Retrieved March 3, 2015.

Lawrence, Jesse (September 18, 2014). Retrieved March 1, 2015. Lawrence, Jesse (September 25, 2014). Retrieved March 1, 2015.

Lawrence, Jesse (January 7, 2015). Retrieved March 1, 2015. Lawrence, Jesse (February 19, 2015). HuffPost Entertainment. Retrieved March 1, 2015.

Finn, Timothy (February 26, 2015). Mi-Ai Parrish. Retrieved March 1, 2015. March 13, 2015. Retrieved March 15, 2015. ^ Levy, Piet (March 1, 2015). Elizabeth Brenner.

Retrieved March 1, 2015. Bream, Jon (March 2, 2015). Retrieved March 3, 2015. Vena, Jocelyn (March 4, 2015). Retrieved March 5, 2015.

Graff, Gary (March 8, 2015). Retrieved March 8, 2015. Lindner, Emily (March 28, 2015). Retrieved March 29, 2015. Piton, Quentin (May 16, 2015). Purebreak (in French). Retrieved May 16, 2015.

June 17, 2015. Retrieved June 18, 2015. June 29, 2015.

Retrieved June 30, 2015. July 17, 2015. Retrieved July 22, 2015.

July 24, 2015. Retrieved August 3, 2015. August 28, 2015. Retrieved August 28, 2015. RFL. North American box score:.

March 25, 2015. Archived from on March 25, 2015. Archived from on May 15, 2015. Retrieved May 3, 2015. Guerra, Joey (January 12, 2015). Jack Sweeney. Retrieved January 28, 2015.

Europe box score:. August 26, 2015. Archived from on August 26, 2015. September 8, 2015. Archived from on September 8, 2015. September 16, 2015. Archived from on September 16, 2015.

November 18, 2015. Archived from on November 18, 2015. European leg information for The Honeymoon Tour:.

Global Limited. November 17, 2014. Retrieved January 28, 2015. Live Nation Entertainment. Retrieved May 30, 2015. Retrieved June 21, 2015. April 30, 2015.

Retrieved May 15, 2015. ^ North American box score:. November 18, 2015. Archived from on November 18, 2015. ^ Cobo, Leila (March 30, 2015).

Retrieved April 4, 2015. Mcdonald, James., Out.com, May 12, 2015; and, nexusradio.fm, June 26, 2015.

HuffPost Entertainment. May 12, 2015.

Retrieved June 11, 2015. March 24, 2015. Retrieved March 26, 2015. February 23, 2015.

Retrieved May 15, 2015. The Sacramento Bee. September 6, 2015. Retrieved September 10, 2015.

Yahr, Emily (September 19, 2014). Retrieved January 28, 2015. Bacardi, Francesca (July 8, 2015). Retrieved July 8, 2015.

Full text of ' Vol. XXXVI OTTAWA, ONT. January, 1922 The Canadian Field-Naturalist Published by The Ottawa Field-Naturalists' Club ISSUED MARCH 11th, 1922 Entered at Ottawa Post Office as Second Class Matter) THE OTTAWA FIELD-NATURALISTS' CLUB President: R. 1st Vice-President: HoYES Lloyd. 2nd Vice-President: G. Treasurer: Secretary: C. Patch (Entomological Branch (Geological Survey) Dept.

Additional Members of Council: W. Macoun; Miss M.

Stern- berg; H. Wintemberg; R. Delury; Arthur Gibson; Norman Griddle; M. Snell; Melville Dale; L.

Terrill; John Davidson; R. Owen Merrbian; H.

Speechly; Harrison F. Editor: Harrison F.

Dominion Parks Branch Dept. Of the Interior, Ottawa. Associate Editors: E.

Sapir Anthropology A. Huntsman Marine Biology M. Malte Botany P. Taverner Ornithology F. Latchford Conchology E. Kindle Palaeontology M.

WiLLLyyis Geology R. Anderson Zoology Arthur Gibson Entomology volume XXXV. OF THE CANADIAN FIELD-NATURALIST Owing to a strike on the part of the printers and to other causes beyond the control of its Editor, Volume XXXV. Of The Canadian Field-Naturalist has not yet been completed. Numbers 7 to 9, inclu- sive, will appear in one issue, which is now in press. A change in the place of publication from Gardenvale, Quebec, to Ottawa, Ontario, makes it possible for this first number of Volume XXXVI. To be published without waiting for the close of the pre- dous volume, although the usual cover-design must be dispensed with until Volume XXXV.

Is completed. Page The Band-Tailed Pigeon in British Columbia. Munro 1 Canadian Sphaeriidae.

Justice Latchford 4 The Fresh Water Leeches (Hirudinea) of Southern Canada. Percy Moore 6 Prosecutions, Migratory Birds Convention Act and Northwest Game Act 11 Additional Notes on the Winter Birds of the Okanagan Valley, British Columbia. Munro 12 Ornithological Occurrences at Toronto, Ontario, January, 1922, By Stuart L. Thompson 13 The Starling, Sturnus vulgaris, at Toronto, Ontario.

Fleming 15 Young Weasels. Smith 15 Diseased Sharp-tailed Grouse in Manitoba. By Norman Criddle 15 The Annual Meeting of the American Ornithologists' Union 15 Lectures to School Children 16 Strange Actions of a Duck.

Westmount Secondary On Twitter: And The Grand Total Is Raised For Mac Free

De Vany 16 Correspondence 17 Book Notices 18 THE CANADIAN FIELD-NATURALIST, lately The Ottawa Naturalist, established thirty-five years ago, 'to publish the results of original research or investi- gation in all departments of natural history,' is issued monthly, excepting for the months of June, July and August. Papers, notes and photographs should be addressed to the Editor. Manuscript should be typewritten. Subscriptions cover the current year, except those taken out during last quarter, when they will be applied on the following year, the remaining numbers of current year being sent free. Payments should be made to the Treasurer, Mr.

Hutchings Entomological Branch, Dept. Of Agriculture, Ottawa. Price of this volume, $1.50; single copies 20c each. The Canadian Field-Naturalist VOL XXXVI OTTAWA, ONT., JANUARY, 1922.

1 THE BAND-TAILED PIGEON IN BRITISH COLUMBIA. MuNRO, Okanagan Landing, British Columbia. The Band-tailed Pigeon has achieved celebrity- through its relationship with the extinct Passenger Pigeon. Together with the Mourning Dove, it shares the distinction of being the only Canadian kin of their illustrious connection and the periodic newspaper stories of Passenger Pigeons surviving in the West have always been traced to one of these species.

In reality the Band-tailed Pigeon has little resemblance to the extinct species except in its feeding habits and game qualities.