Easy 2-Ingredient Cherry Compote

The Archives is pleased to announce that records of Vancouver’s first and longest-lived neon sign company, Neon Products, are now available to researchers. Neon Products was founded in 1927 or 1928 by George Sweny and partners. Sweny was Managing Director from shortly after the company’s founding to 1953 and oversaw tremendous growth in the company through its earliest decades. In the mid-1970s, Neon Products was acquired by Neonex, a Jim Pattison company, though it continued to operate under its own name until being folded into the larger Pattison Signs Group in the 1990s. A 1949 view of the Niagara Hotel neon sign at 435 West Pender Street. Reference code: AM1545-S3-: CVA 586-12567 The records donated to the Archives by Pattison Signs are “flimsy files”, largely made up of small sketches of designs with basic production information. The records do not include the factory patterns. The records also do not include files previous to ca. 1945, which do not appear to have survived, nor files opened later than 1964. Most of the earliest records (as determined by job numbers) are undated. Here is the flimsy for the Niagara Hotel sign in the photo above. Niagara Hotel, 435 West Pender Street, Vancouver, B.C., 1947. Reference code: AM1695-S1-F1628: 2018-025.0038 And a colour image taken at night in 1983: Niagara Hotel sign, 1983. Reference code: AM1376-: CVA 1376-342 Another example is this flimsy for the Studio Theatre sign on Granville Street: Studio Theatre, 900-block Granville Street, Vancouver, ca. 1950. Reference code: AM1695-S1-F1737: 2018-025.0040 The Studio Theatre can be seen in this streetscape photo of Granville Street taken most likely in 1967: View of the 900 block Granville Street, Theatre Row. Reference code: COV-S511—: CVA 780-53 The donated records document a wide range of production work, not just of neon display signage, but of non-neon signage, neon strip lighting, and readographs. A common use of readographs are for movie theatre marquees, such as the one designed for the Stanley Theatre. Stanley Theatre, 2570 Granville Street, Vancouver, 1957? Reference code: AM1695-S1-F1731: 2018-025.0039 The Stanley’s script signage and readograph are seen in this 1998 photo. Stanley Theatre marquee, 1998. Reference code: AM1624-S1-F15-: 2012-079.406 Almost as common as neon signage was the plastic-faced lightbox signs that became more common in the company’s work in the 1960s. The Kuo Kong Silk Company sign is typical of this type of projecting display signage that was not neon-based. Kuo Kong Silk Company, 1964. Reference code: AM1695-S1-F1561: 2018-025.0041 You can see the sign in the middle of CVA 1095-09664, a heritage inventory photo of 27-29 East Pender Street, taken in 1973. 27-29 East Pender Street – Kuo Kong Silk Ltd., Wong Wun Sun Society, and Hon Hsing Athletic Association, 1973. Reference code: COV-S644-: CVA 1095-09664 As the first and largest neon manufacturer in Vancouver, Neon Products provided signage and neon lighting to a wide variety of businesses across the province. Brasso’s Car Supermarket, 3220 Kingsway, Burnaby, B.C., ~1950s. Reference code:  AM1695-S1-F1177: 2018-025.0042 Approximately two-thirds of the files document work done for businesses outside the Lower Mainland, including a small number of files for businesses in other provinces and the Territories. Here is a sampling. Capital Tobacco Shop, Kelowna, 1951. Reference code: AM1695-S1-F2269: 2018-025.0047 Waikiki Restaurant, Comox, ca. 1960. Reference code: AM1695-S1-F0643: 2018-025.0043 A full-colour image of the Waikiki’s extensive signage, most likely from a postcard, can be found on Pinterest. Brodie’s Bakery, 1304 Douglas Street, Victoria, B.C. Reference code: AM1695-S1-F0021: 2018-025.0036 The Brodie’s sign can be seen in the middle of this streetscape image in the holdings of the City of Victoria Archives. This sign for the Ranch Motel in Clinton, B.C. is indicative of the many signs done for hotels and motels across the province. The file is one of only two that came with photos of the completed signage. Ranch Motel, Clinton, B.C. flimsy and photo, 1950s. Reference code: AM1695-S1-F2083: 2018-025.0045 and AM1695-S1-F2083: 2018-025.0046 A small number of large, rooftop billboard signs with neon elements are also documented in the records, including this Westinghouse Sign at Howe and Georgia. Westinghouse sign, located on the rooftop of the Trocadero Restaurant, Howe & Georgia Streets, Vancouver, 1959. Reference code: AM1695-S1-F1795: 2018-025.0023 An unusual aspect of Neon Products’ business was that many of their signs were leased by clients, rather than purchased. As a result, many of the signs were re-used once no longer needed in their original location. One example is this small sign featuring the outline of a chicken which was repurposed from its original use at the Chicken Coop in View Royal, B.C. In 1951, it was moved to The Famous Kitchen in Richmond; by 1958, the restaurant had been renamed the Rooster Café, but the little red chicken is still there, as seen in this City of Richmond Archives photo of businesses on No. 3 Road. The Famous Kitchen, 604 No. 3 Road, Richmond, 1951. Reference code: AM1695-S1-F1818: 2018-025.0044 As the first neon signage company in Vancouver, Neon Products contributed greatly to Vancouver’s reputation as “Neon City”. It was later joined in this growing market in the middle decades of the century by Wallace Neon, Neolite, Walburn Neon and others; collectively, these companies changed the nightscape of cities across the province.

After approving a Council motion to improve Gastown public spaces in May of this year, the City has now launched an engagement process to support the creation of a public space plan for the neighbourhood. This is a great step – with a number of important opportunities tied to the process. Two of the most prominent include the renewal and enhancement of Maple Tree Square – a central public space in the neighbourhood, and the potential pedestrianization of Water Street. There are other ways to strengthen the network of public spaces in the area that also need to be included in the discussion – including a consideration of street-end plazas, attention to alleys, and re-opening the currently privatized CPR right-of-way. In fact, integrating the many different considerations around gathering and mobility (and doing so in a inclusive fashion) make this a more complicated process than one might think. (For more on these and other Gastown possibilities, check out this article from earlier in 2023). For that reason alone, it’s great to see this process move forward. This is an chance for bold improvements to the area, not half measures. To that end, we encourage you to take part in the process and share your perspective on how the public spaces in the area can be improved. As part of the present engagement process, a survey has been created. There are also several pop-up engagement events scheduled. Details on these opportunities can be found in the City’s October 12 media release, reproduced below. Share your thoughts on the future of public space in Gastown The City is taking steps to make Gastown’s unique streets, laneways and public spaces more people-friendly. In response to Council direction, staff are launching a public engagement process on the Gastown Public Spaces Plan to establish a shared vision for a vibrant destination with more seating, patios, live music, events, festivals and active transportation options. The plan will also explore transforming Water Street into a pedestrian zone, either seasonally or year-round. Residents, local businesses and local organizations are invited to get involved through a city-wide survey and in-person pop-up events later this month. “I’m really excited that we are starting this very important conversation with Vancouver on the future of public space in Gastown, including restoring its streets and sidewalks and making Water Street a pedestrian zone,” says Mayor Ken Sim. “We want to hear from area residents, businesses and all of Vancouver to ensure that the changes Gastown needs work for everyone. I want to thank the xʷməθkʷəy̓əm (Musqueam), the Sḵwx̱wú7mesh (Squamish), and the səlilwətaɬ (Tsleil-Waututh) Nations for their partnership on this project as we work together to ensure their visibility is part of Gastown’s future public spaces.” The new Gastown Public Spaces Plan will serve as a guide to: Establish a vibrant, people-focused Gastown with enhanced gathering places, streets and laneways to support a range of activities. Explore how to pedestrianize Water Street, seasonally or year-round, starting with a pilot in summer 2024. Improve the street network, including walking, cycling, transit and vehicle connections and consideration of Cordova as a two-way street. Advance Reconciliation with the local Nations and support their visibility on their lands. Evolve and deepen the unique heritage feel of the area, including improved street materials and amenities. Identify phased project timing and funding. Some of the streets and sidewalks in Gastown are in poor condition and repairs and maintenance will continue alongside the development of the Gastown Public Spaces Plan. Gastown is situated on the unceded traditional territories of the xʷməθkʷəy̓əm (Musqueam Indian Band), the Sḵwx̱wú7mesh (Squamish Nation), and the səlilwətaɬ (Tsleil-Waututh Nation) Nations, however, its streets and public spaces do not currently reflect the histories, culture and visibility of the local Nations. The Gastown Public Spaces Plan is an opportunity to advance the City’s Reconciliation efforts and work with the Nations to support their visibility on their lands. “This initiative by the City of Vancouver is an important step forward in sharing our deep history and connection with the area now known as Vancouver,” says Sxwixwtn, Wilson Williams, Sḵwx̱wú7mesh Úxwumixw Spokesperson and Council Member. “We look forward to seeing our history and our culture reflected in these shared public spaces, for all to enjoy.” “I am pleased to see the progress of this important work of increasing visibility of səlilwətaɬ (Tsleil-Waututh Nation) alongside our relatives xʷməθkʷəy̓əm (Musqueam Indian Band) and the Sḵwx̱wú7mesh (Squamish Nation) in Gastown,” says Chief Jen Thomas, səlilwətaɬ (Tsleil-Waututh Nation). “This good work led by the City of Vancouver helps put the face of səlilwətaɬ back on our shared traditional territory, and I am looking forward to seeing this vibrant space reflect our Indigenous cultures and communities.” Share your thoughts There are many ways to get involved: Complete an online survey (translations in Traditional Chinese, Simplified Chinese, Spanish, Tagalog and Vietnamese available by request). Visit us at an upcoming pop-up information event: 131 Water Street October 19, 11 am to 6 pm October 20, 11:30 am to 7 pm October 21, 2 pm to 6 pm November 16, 11 am to 6 pm November 17, 11:30 am to 7 pm November 18, 2 pm to 6 pm ​333 Abbott Street November 9, 2 pm to 6:30 pm November 10, 8:30 am to 1 pm Public feedback will be shared in an engagement summary and presented to Council in early 2024. Input from businesses, including their loading and access needs, will play an integral role in shaping the Water Street pilot in summer 2024. More information on the Gastown Public Spaces

Just 6 ingredients and 20 minutes will give you this seriously warming carrot, ginger & apple soup. Perfect for a cosy lunch or dinner. Looking for an easy, quick-to-make soup that will warm you in the winter months and give your immune system a boost? Look no further than this carrot and apple soup with ginger. It’s a grey and chilly day and I for one am feeling soup season! I’m all about delicious soup right now (like my vegan chicken noodle soup and easy lentil & carrot soup ), and this one came to me a few weeks ago when I was craving something cosy with a hint of sweetness. Combining sweet carrots, tart apple and fiery ginger, this vegan soup takes just 20 minutes to make and is the perfect blend of savory and sweet. As a bonus, it also helps you eat your daily quota of veggies. Enjoy it with a slice of crusty bread and feel smug knowing you’ve given your body some goodness! It’s definitely my favorite soup for autumn weather. Main ingredients Carrots – The sweeter and more flavourful the better! Any work well. (If you’re not a fan of carrots, you could trying switching them for butternut squash or sweet potato instead.) Apples – Natural sugars balance out the savory flavours of the soup. Go for apples on the sweeter side. I love using Granny Smiths – they’re both sweet and tart. Fresh ginger – Don’t use too much! About a 1-inch piece is perfect for a hint of heat – anymore and you’ll find it becomes very fiery. Fresh garlic – Rounds out the soup’s flavour. Coriander powder – Gives a little more fragrance and heat to this dish. Vegetable broth or stock – I like using stock cubes that are dissolved in water. I find they are a little cheaper than buying broth. I use Go Bio . You could also switch out some of the stock for coconut milk if you want a creamier soup. Love what you see? Get my once-monthly newsletter with my latest recipes straight to your inbox! Yes, I agree to the processing of my personal data to receive email marketing. /* real people should not fill this in and expect good things – do not remove this or risk form bot signups */ Leave this field empty if you’re human: How to make carrot apple soup Place chopped carrots and apples, ginger, crushed garlic and coriander powder into a large soup pot. Cover with vegetable stock and bring to a boil. Reduce to low or medium heat, cover and simmer for 10 minutes or until carrot is tender. Season with salt and black pepper, and blend soup until it has a smooth and creamy texture (you can use a regular blender or immersion blender). Reheat if needed and serve hot soup in large bowls topped with sour cream or heavy cream and fresh herbs! What to serve this soup with In addition to croutons or crusty bread, this carrot soup recipe works really well served with any of the following: Grilled cheese sandwiches Spring rolls Poutine Chickpea pizza Salads like tabbouleh White bean & artichoke sandwich Vegan cheese board Savory muffins Expert tips Make it heartier – To make this soup more filling, add in a cubed potato before cooking to give it a little more body. Add protein – I like to add a can of beans before blending to increase protein content. Just be aware that you’ll need to add more stock or salt as beans absorb a lot of flavour. Spice variations Feel free to customize this carrot apple soup recipe and add in any extra spices you’d like for an extra layer of flavor. A bay leaf can add fragrance, cayenne gives a kick, cinnamon makes the soup extra warming, smoked paprika adds smokiness and cumin really enhances the flavour profile. Storage Store leftover soup in an airtight container in the fridge for up to 5 days. Soup can also be frozen – just freeze in a sealed container or freezer-safe bag for up to 3 months, and thaw fully before heating. FAQs Should you leave skin on carrots for soup? I always do, but it’s up to you. Some people prefer to peel their carrots first, others don’t care. It won’t make a huge difference to the flavour. Why is my carrot soup bland? The flavour of this soup is very dependent on the produce quality. To improve the flavor, firstly ensure you’ve added plenty of salt and pepper. You can also try adding a squeeze of lime or lemon juice to brighten the flavour. Finally, try adding a little sugar or maple syrup to bring out the natural sweetness in the carrots. Looking for more carrot recipes? Easy Carrot Lentil Soup (30 Minutes) Easy Maple Roasted Carrots Easy Vegetable Stew with Lentils (Vegan) Red Lentil Dhal (vegan & gluten-free) Print Easy Carrot, Ginger & Apple Soup Just 6 ingredients and 20 minutes will give you this seriously warming carrot, ginger & apple soup. Perfect for a cosy lunch or dinner. Course Main Course, Side Dish, Soup Cuisine gluten-free, healthy, vegan, vegetarian Diet Gluten Free, Low Fat, Low Lactose, Vegan, Vegetarian Prep Time 7 minutes minutes Cook Time 13 minutes minutes Total Time 20 minutes minutes Servings 4 servings Calories 100 kcal Author Elizabeth Emery Equipment Blender Ingredients 1 lb

Who is the city for? Last week, a good friend of mine recently told me he and his family were leaving Vancouver. His words struck a chord: “Vancouver has broken us.” Both he and his wife are working professionals. They couldn’t face another winter crammed into a shoebox apartment with their young child. Years of searching for a space that could accommodate a small family without breaking the bank had finally worn them down. One disappointment after another led them to this decision, until leaving became the only choice they had left. This story would hardly be worth mentioning if it weren’t so painfully common. Each year, more friends and family members pack up and leave Vancouver behind. These aren’t just abstract statistics—they’re skilled professionals, hardworking families, and everyday people who contribute to the intricate fabric of our urban life. And these people are not even the most vulnerable people in our city. With each departure, a piece of Vancouver’s spirit disappears, leaving behind not vibrant communities but vacant investment properties and darkened condo windows. The city is losing its people, and with them, its soul. I know many readers have had similar experiences and can feel it getting worse with every passing year. Who is the city for? The Barcelona Chronicles were born out of this sense of loss and frustration. Too few of us think about cities as designed spaces, shaped not only by physical structures but by the values, policies, and decisions that inform their growth. What we experience daily—the places where we live, work, and gather—are a reflection of choices made far above our heads. And the consequences of these choices are anything but abstract; they touch every corner of our lives. Even those of us working in city-building disciplines often struggle to see the bigger picture. Our fields are guided by entrenched biases, drilled into us through education and professional practice, rarely questioned and barely examined. We carry these assumptions with us like heavy backpacks, often too self-assured to realize that we are part of a much larger historical process. The result is a kind of arrogance—an inability to see beyond the immediate goals of growth and development to the longer-term impacts on people’s lives. For most of human history, cities grew organically, shaped by the needs and experiences of their residents, without the interventions of urban planners, mayors, or city councils. The structured, top-down approach we now call “urban planning” is a relatively new experiment, and an honest reflection would acknowledge that the most profound mistakes of the past century have coincided with its rise. In 1965, Christopher Alexander wrote “The City is not a Tree” which argues that cities are complex, interconnected systems, not hierarchical tree structures. He argued rightly that a tree-like approach to urban planning oversimplifies the intricate, overlapping relationships within a city, leading to less vibrant and functional urban environments. The environmental and social crises we now face are tied to decisions made in boardrooms and council chambers, rooted in a belief that cities can be controlled and shaped like machines…or worse yet, treated like businesses.  But cities are not machines—they are living, breathing ecosystems, with people as their heartbeats. Cities are also not like businesses—they’re not about maximizing efficiency, profit margins, and heavy-handed hierarchical control that benefits the few at the expense of others. This misses the fundamental nature of urban life. C ities thrive on collaboration, cultural exchange, and organic growth. All metaphors oversimplify the complexity cities, leading to rigidity that ultimately fails to meet the diverse needs of its citizens.  We are living inside an ongoing experiment of our own making. The answers we thought certain have crumbled, and the stakes are higher than ever. Every misstep reverberates through people’s lives and echoes into the future. We must be willing to question everything. At a time when all that is solid melts into air, how do we find the right path forward? Who is the city for? I have had the privilege of visiting Barcelona many times over the past two decades, often as a teacher. There’s a kind of magic in the way the city evolved; no matter how short the time between visits, Barcelona always seemed to improve. This transformation sparked endless questions: Why? What’s different here? How does this city keep getting better? My questions grew more urgent as I compared Barcelona’s trajectory to my own city, Vancouver, which to my eyes, was heading in the opposite direction. Barcelona is not perfect—I’ve spoken to enough locals to know that. But, few would argue against the fact that the city’s transformation over the past decade has been largely positive, driven by an approach that places people at the forefront of planning. By focusing on livability, sustainability, and community—and seeing their interrelationship—Barcelona has embraced a model that seeks to enhance the quality of life rather than merely maximize profit. Initiatives like the Superilla—where communities reclaim streets from cars—are not just about traffic; they’re about creating spaces where life happens, where the city breathes and its people thrive. Their affordability policies and systems are born from the same spirit. In Vancouver, however, the story is different. The city that once led the way with community-driven planning and innovative policies has increasingly surrendered to the market. The shift toward a profit-driven approach is evident in the soaring real estate prices, growing economic divides, and shrinking spaces for ordinary

“A recent report from Central 1 Credit Union suggests a rebound in Metro Vancouver’s housing market is coming. However, at the moment there are property owners losing hundreds-of-thousands of dollars on their investments.” There follow examples of homeowners losing money, care of @mortimer_1: 1. Burnaby. Bought $1.9M May 2016, Sold 2019 $1.495M, Loss $405K + expenses (over 21%) 2. Burnaby. Bought $3.11M 2016, Sold $2.1M 2019, Loss $1.01M + expenses (over 32.5%) 3. Vancouver Westside. Bought $2.7M Feb 2016, Sold $2M 2019, Loss $700K + expenses (over 25.9%) 4. North Vancouver. Bought $2.36M Mar 2017, Sold $2.05 2019, Loss $310K + expenses (over 13.1%) – from David Carrigg, Vancouver Sun, 5 Dec 2019 (image: Anselm Kiefer) Seeing terms like “homeowners hosed” and “falling market” in top-of-the-page Vancouver Sun headlines is certainly worthy of note – particularly for those of us who have been following this long enough to have endured years and years of local media entranced with rising prices. (Anybody remember the well-known local TV anchor exclaiming “I love Real Estate!” ?) However, note that the Sun still talks about homes as “investments” – perhaps that will have to change before we’re done. Here and elsewhere, some discussion of ‘soft landings’ that is clearly based more on hope than observation. As noted previously, our target prices should be determined by utility value of properties, not on imagined future sale prices. Current prices are still far above those levels. It ain’t over. – vreaa

Cased photograph is a term used to describe a class of photographs popularized in the mid-19th century that includes daguerreotypes, ambrotypes and tintypes. The ‘case’ refers to the small wooden hinged case that houses these photographs. The photographic plate is typically enclosed in a sealed package, consisting of a sheet of cover glass, a brass mat, and a metal foil preserver. The protective wooden case can be highly decorative, covered in tooled leather, paper, cloth, or early molded thermoplastic (see Union case). Examples of ornate cases: (Left) Tooled leather covering on a wooden case from the Rogers Family fonds (AM1368). (Right) A Union case from the Thomas Wicks fonds (AM236). Photo: Dorcas Tong. Illustration of the different components in a cased photograph. Image source: MediaWiki. “PMG Cased Photographs.” 2011. https://www.conservation-wiki.com/wiki/PMG_Cased_Photographs . Aside from their shared presentation format, these photographs are uniquely different photographic processes. A daguerreotype is a direct positive photograph on a copper plate coated with a polished layer of metallic silver. Daguerreotypes are characteristically identified by their highly reflective mirror-like surface and their ability to appear as both a positive and a negative simultaneously, depending on the angle they are viewed at. An ambrotype is a wet-collodion negative on a glass plate that appears as a positive due to the presence of a dark background, either in the form of paint (lacquer), fabric or paper. A tintype is a wet-collodion direct positive on a lacquered iron plate. Characteristic mirror-like surface of a daguerreotype from the Rogers Family fonds (AM1368). Photos: Dorcas Tong. Finding a cased photograph in most archival collections can range from an uncommon to a rare occurrence. Given the rarity of this form of record, we decided to prioritize the conservation treatment and digitization of the daguerreotypes (and a few ambrotypes) in our holdings during the latest round of annual digitization cleanup. Conservation Issues with Cased Photographs The overall treatment objective is to address three common issues found in cased photographs: The accumulation of heavy surface grime and accretions from years of handling and from inappropriate storage environment. Broken seal on the packaged plate resulting in the introduction of atmospheric pollutants, which causes corrosion on the brass mats and tarnishing on the image silver on the daguerreotypes. Physical damage, usually as partially or fully broken hinge in the case, often leading to the loss of the cover or the case entirely. Unlike other types of records commonly found in archives, where the original enclosure may hold little informational value to the item, the ornate housing for cased photographs play an integral part to their overall aesthetics. Not only do they provide period-appropriate framing for the image, but the case is instrumental in protecting these photographs against various mechanical and chemical deterioration mechanisms. Therefore, addressing the conservation issues for the case is equally as important as stabilizing the condition of the photographs themselves. Conservation Treatment A total of six case photographs from the Rogers family fonds were treated, each with its own set of conservation issues. Two 1840s-era daguerreotypes, “Portrait of an unidentified woman” and “John and Isabella Fairweather,” and their cases will be focused here to highlight the key steps in the treatment. Each packaged daguerreotype was carefully separated from its tray case with a microspatula, taking care not to touch the delicate image silver, as it is very susceptible to scratches. Although disassembly is not normally recommended for sealed daguerreotypes, it was clear by the remnants of old sealing tape that the original seals were broken long before their arrival at the Archives. Therefore, disassembly was justified as it allowed for cleaning that will benefit the long-term preservation of these photographs and produce digitized images with a higher clarity. A daguerreotype is separated from its tray case with a microspatula (left), revealing the tarnished image silver caused by the brass mat. The remnants of old sealing tape are visible on the back of a packaged plate (right). Photos: Dorcas Tong. After disassembly, each component of the plate package was cleaned, the remnants of the old tape removed to allow for better adhesion to the new sealing tape. The heavy accumulation of surface grime on the cover glass, brass mat and preserver were cleaned with a solvent solution. Although the dark corrosion products on the brass mat are disfiguring, they were left in-situ. Since the treated daguerreotypes will be rehoused in a controlled environmental climate in the Archives’ storage, the corrosion products will not pose an immediate risk to the stability of the object. Larger accretions trapped in the recessed features of the brass preserver were gently dislodged. A thin layer of microcrystalline wax was applied and buffed on the metal-foil preserver to deter future oxidation. The surface dirt on the image silver was very gently removed using a soft bristled brush. The loose accretions and dust trapped in the fabric lining of the cases were brushed and vacuumed away. Heavy surface soil on the cover glass removed with solvent cleaning. Photo: Dorcas Tong. After all the components of the daguerreotype packages were cleaned, they were reassembled in their original orientation and sealed with an archival quality pressure-sensitive tape. An unbuffered, ‘4-flap’ paper enclosure was added to the verso of the plate package to prevent direct contact between the acrylic-based sealing tape and the daguerreotype. An unbuffered, ‘4-flap’ paper enclosure in a daguerreotype package (left) and a plate package being sealed with archival quality pressure-sensitive tape