
'A bitter ale for bitter times.' The full spirit of this wondrously timed ironic creation is amplified in this press release from the company.
As long as we have our sense of humour intact we have a chance.

'...with recession-fighting properties...'




How can you help?
Action Plan:
First, Gather phones!
Collect all the un-used mobile phones at your office and home - dig into your boxes of stuff, ask you friends! Digital cameras gratefully accepted too.
Next, Arrange Pick-up:
Or, Drop-off (after Tuesday, 23rd) at:
Want to be a drop-off point? Let us know.
MONTREAL -- Laurie Gordon had originally wanted acclaimed National Film Board animator Ryan Larkin to contribute a few drawings to the music video for her rock band Chiwawa.
What she ended up with was a good friend and a six-minute film that showcases some of the last work by Larkin, who died of lung cancer last year.
"Spare Change" will screen in Vancouver, Toronto, Quebec City and Sherbrooke, Que., on Friday and also open the Focus section on Sunday at Montreal's Festival du Nouveau Cinema.
The film, which was completed by Gordon and a team of young animators after Larkin's death, is a poetic - and surreal - trip through Larkin's imagination.
"I think he would have hoped it would have been his first in a new series," Gordon said wistfully over coffee at Larkin's favourite bar, sitting next to his regular chair.
The drawings, which range from beautiful charcoal renderings to the cartoonish, tell the story of Astral Pan, a panhandler who takes the viewer from the wintry streets of Montreal to hell and back and up to the gates of heaven, where there's a meeting with St. Peter.
Chiwawa's song "Do It For Me" is featured in the movie.
Larkin's voice is also heard in the film and several of his own paintings and character drawings appear.
"I also got some circa-1967 stuff that came to me, magically - flip books that he did," Gordon says.
Gordon approached Larkin after seeing a news report which profiled him after personal problems put his flourishing filmmaking career into a 25-year stall.
Tapped by NFB legend Norman McLaren as a shining new talent, Larkin enjoyed a meteoric rise at the film board with his work in the 1960s, capping it off with an Oscar nomination in 1969 for his film "Walking."
He left the film board in 1978 and ended up bumming change on the street. But he gained new attention as the subject of the animated short "Ryan" directed by Chris Landreth, who won an Oscar for the movie in 2005.
Gordon said she approached Ryan in 2002 as he panhandled on St-Laurent Boulevard and pitched her idea. He was interested.
"I gave him some music and he chose a song and he started to make a few drawings," Gordon said. "Things were slow moving. There was no big rush."
Until one of Larkin's buddies pressed them.
"It's Ryan's time," Gordon says the fellow panhandler told them.
"That gave us both a rush and a push and we really started to seriously conceive and think and meet regularly on this yet-to-be-named film," says Gordon, who owns MusiVision, a film and music production company.
"One day Ryan called me up and said, 'I got the name, I got the name. It's 'Spare Change."'
That added another dimension to the film, Gordon says with a smile.
"We were sitting right over there," she says indicating a table in the bar, which has Larkin's picture on the wall. "He said to me, 'Now that we're making a movie together, we're going to need official titles. I'm the director and you're the producer'."
She made business cards.
"That was the beginning of hell and back but a good hell. It was a great ride for Ryan and I on many levels.
"It was wonderful. I really loved working with Ryan. I miss him a lot," she added, tears welling in her eyes.
She compared their friendship to that of a couple of mischievous teenagers and said a real connection developed. He was a diligent worker, she got the money together.
"He didn't boss people around," she said. "He didn't have time to boss people around."
The project took on added urgency when doctors discovered a small tumour on Larkin's lung in 2005. He was in generally good health aside from the tumour and Gordon got the impression he was comforted by the fact she had survived breast cancer.
Larkin came to live with Gordon and her husband in nearby St-Hyacinthe, Que., where he was cared for by them and her sister until he had to go into a hospice. He died a week later, just two hours after Gordon had left his bedside.
Larkin had been experiencing a comeback with the attention garnered by Landreth's film and had done some work for MTV. When "Spare Change" is shown at the Montreal Festival du Nouveau Cinema, it will open for Adrian Wills' "All Together Now."
That documentary tells the story behind the collaboration between the Beatles and Cirque du soleil that resulted in the creation and 2006 launch of the "Love" stage production which launched in 2006.
Gordon says the lyrical "Spare Change" is a fitting tribute to Larkin, who always insisted he didn't want to be remembered for his past.
"He was always looking to the future."
RH Thomson is one of Canada's foremost actors/directors has received numerous awards over his 30 year career. In 2001, RH Thomson wrote and performed a highly personal play, The Lost Boys, based on letters written home by his five great-uncles who fought in WWI. Its television version delivered his second Gemini Award.
Martin Conboy Lighting Design (MCLD) has been supplying lighting design services for over 20 years. MCLD approaches the craft of lighting with the conviction that good lighting should offer more than illumination.
Founded in 1986, MCLD has received numerous international awards for its work on projects of commercial, theatrical, institutional, urban and public character. Since the inception of the firm, Martin Conboy has encouraged his designers and associates to visualize the needs of an assignment without allowing presumptions of equipment to be a motivating force.
Ecentricarts Inc. is a web design and development company, which works on many arts, culture and education-based projects. This innovative studio is based in Toronto and has clients across Canada and internationally. Ecentricarts Inc. designed and built the online Vimy Vigil project and is honoured to be working on the 1914-1918 Vigil project. Visit www.ecentricarts.com for more information.
VANCOUVER -- A controversial new artwork by Vancouver artist Stan Douglas goes on display today at the David Zwirner gallery in New York. The piece - Abbott & Cordova - depicts a scene from the 1971 Gastown Riot, an episode of Vancouver's history that members of the city's police force would rather not revisit.
The work is a scale version of a huge photograph (9 by 15 metres) due to be installed in June in the atrium of the redeveloped Woodward's building in Vancouver's troubled Downtown Eastside. Enclosed in glass, the piece shows police rounding up protesters, who were demonstrating against the use of undercover cops and for the legalization of marijuana.
News reports from the time state that police charged on horseback and beat the crowd with batons.
One eyewitness was quoted in The Globe and Mail saying the officers behaved with "almost a satanic arrogance."

Like hockey or football (soccer) supporters wearing team colours,
hoards of shoppers making their way the 100 feet to and from car to
supermarket carrying these nasty new addictions seem oblivious to the
minute tokenism of their actions.
Final plans for W2, a 14,395-square-foot media-arts centre at the Woodward's project championed by Gallery Gachet executive director Irwin Oostindie, are in the city's hands.
But, according to Oostindie, city council must approve them before the November 15 civic election if he is to raise $2.6 million for finishing and operating costs for the facility to open by September 2009.
"They've pushed us back with a whole bunch of more questions," Oostindie said, referring to the W2 report submitted September 2. "They want a lot of detail from us, and we're a bit hamstrung because we're not able to embark on a fundraising campaign and identify our funders, because we're still waiting for city-council approval."
A proposal for W2, initially called the Centre for Creative Technology and Community Arts, was first submitted to the city in 2006, in response to a request for proposals from nonprofit groups for space in Woodward's.
Here's a familiar scenario. Artists band together to open exhibition spaces in low-rent urban areas. Gentrification creeps in. Landlords raise rents. Studios disappear. Galleries collapse.
Vancouver's Downtown Eastside is especially volatile, and artist-run centres such as Artspeak, Access, Centre A, Gallery Gachet, and the Helen Pitt Gallery, early stakeholders in and around the area, survive through dedicated boards and staff, energetic fundraising, and occasional grants. But what about the independent galleries, showing emerging artists and attempting commercial viability without subsidy? Here are three new or newish examples. They're some of the best of the Downtown Eastside--and slightly beyond.
On a covered sidewalk on West Cordova Street, where the smell of vomit and urine hangs in the air, Ken Foster talked about what it takes to push the boundaries of his art.
A homeless artist whose work is well known on Vancouver's Downtown Eastside, Foster paints on materials he picks up in alleys, like discarded construction signs.

"I'll sell it for $6, maybe, and with that buy a can of paint," Foster related. "And so I end up doing 10 paintings before I finally get enough supplies to make one painting that is actually pushing a boundary of any sort, or furthering, you know what I mean, like, any sort of importance."
When the Georgia Straight caught up with the 37-year-old street artist, Foster's challenges were a lot greater. A Sharpie pen was all that was left of his possessions because of the recent street sweeps by city crews and the police on the Downtown Eastside.
"The last time, they threw out my wheelchair, $150 worth of paint, my backpack, my ID, and I don't own anything other than what you see right here," he said, showing the pen.
Foster recalled one incident. "They said, 'You have half an hour to get that cleaned up; get somebody to help you move it out of here,' " he said. "So I had gone. I came back 15 minutes later. It wasn't even half an hour. And they had thrown it all, and they're laughing at me."
And the police who accompanied the city crew? "They're laughing at me too," Foster said.