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              <text>About 2 years after I arrived in Toronto having deserted Thatchers England for a better life, I began playing in the 2 bands that undoubtedly saved my literal life at the time, by providing an outlet and something to lose myself in, during a very turbulent and intense period of adjustment to my new surroundings and it's accompanying pile of devastating setbacks, because wherever you go there you are.&#13;
&#13;
Music was my girlfriend.&#13;
&#13;
Initially The Nina Hagen Das rehearsed in my garage at 778 Crawford Street (The Dyke House), with Mourning Sickness rehearsing 2 doors down at Kathedral B (The Anarchist House). We could hear each other rehearsing on what was otherwise, a quite traditionally "older European family" street! My first friendship at Kathedral B was with one of their fierce, scrappy, old tom cats "Rex" - before meeting the reamaining occupants and eventually sharing the Kathedral B rehearsal space.</text>
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              <text>Nina Hagen Das - El Mocambo I cant speak to the 80's as I was still in the UK but in the early 90's; finding Women in the male-dominated "traditional" Toronto Punk Scene was like spotting a Unicorn. With the exception of Chicken Milk every other band we played with was male. &#13;
&#13;
Along with it came the assumptions we must be looking to get laid and the musician part clearly secondary. No men got laid as a result of this band, sorry fella's! (It should be noted that several men, including those who invited us to play gigs, were extremely respectful and supportive and I think frankly excited to see the scene become more inclusive) &#13;
&#13;
As a result of the NHD several of our equally talented female friends also went on to form their own Punk bands, relinquishing their former roles of "audience member" at BFG, Armed &amp; Hammered &amp; Random Killing gigs. &#13;
&#13;
Ginny was older than us and not only the best punk drummer I'd played with to date but the only female one ever and continued after we dis-banded. Preston also went on to play in several punk bands, but even back in his early days there was a melodic sensibility to his Bass playing that helped us stand out and that I really enjoyed. Christine became another fixture in the scene, she also played the saxophone making us stand out further as well as opening up the possibility of true to form X-Ray Spex covers (Identity). We also covered Nina Hagen (Smack Jack), Ramones (Warthog), Ice T / Bodycount (Cop Killer) as well as our own original material. &#13;
&#13;
Our only recording was laid down live to tape in 1 take, while sharing a rehearsal space with Mourning Sickness, in the garage at Kathedral B in May 1993. - "Plastic Doll" clearly demonstrates the early presence of gender-queer and non-binary identities in the Toronto Scene, and speaks to the confusion / resigned loneliness of attempting to navigate as such, in a pre-internet world where you simply "did not exist", let alone expect to one day  find your "Others" and be allowed to occupy those spaces outside the gender binary. &#13;
&#13;
Shortly after it's recording I opted to leave the punk scene and pursue a new direction opened up to me by a second band I was now in... Mourning Sickness. The rest is MISS-tory and it's time to correct that.</text>
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        <name>Queen Street West</name>
      </tag>
      <tag tagId="1013">
        <name>Queer Punk</name>
      </tag>
      <tag tagId="1014">
        <name>Women In Punk Music</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
