1 20 526 https://www.alternativetoronto.ca/archive/files/original/7d1ac1864060e25b41ac3fd7926e3c53.jpeg 9486c7da29f0e14f045beae2e8aefa85 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lilian Radovac Collection Date A point or period of time associated with an event in the lifecycle of the resource 1987-1994 Contributor An entity responsible for making contributions to the resource Lilian Radovac Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 8.5 x 11 Text Copy and paste the text you want to contribute here, or attach a file below. This statement provides context for a gig poster that was briefly posted in the Alternative Toronto Facebook group in the summer of 2020. The poster was for a show held at the Purple Institution on October 20, 1989, which was headlined by W.Pig and also featured our band, Mourning Sickness, as one of three supporting acts on the bill. The others were Cottage Industry and Kevin Cook. The poster was created and signed by the artist Urania235, and includes a stylized black and white rendering of the Aunt Jemima brand character. We did not consent to the poster design or see it before the show and hate everything it represents. As white women it is our responsibility to speak about why. Mourning Sickness was a feminist music collective that was part of Toronto's industrial music scene in the late 1980s. This scene was almost exclusively white and predominantly cis-male, as it remains today. Industrial music artists sometimes used decontextualized visuals and other content drawn from racist, anti-Semitic and misogynist sources, which we discussed in <a href="https://bit.ly/2NQevtb" target="_blank" rel="noopener">interviews</a> and challenged in our performances. We would like to address this poster now.  Art historian Dr. Cheryl Thompson explains the historical lineage of the image of Aunt Jemima, and we recommend her <a href="https://bit.ly/2XQxZjl" target="_blank" rel="noopener">online essay</a> to anyone who wants to learn about this history. The image is steeped in both white supremacy and patriarchy, and the long struggle against it (see the <a href="https://bit.ly/2DZy6Sg" target="_blank" rel="noopener">Berkeley Revolution</a> archive for one early example) has finally resulted in its being retired as a corporate logo by Quaker Oats. Toronto also has a history of white supremacy, which is an important part of the poster's context. Beginning in the late 1970s, a series of highly publicized police shootings of Black residents occurred in waves that continue to this day. Two of these shootings, of Lester Donaldson and Michael Wade Lawson, occurred the year before the Purple Institution show. A third, of Sophia Cook, happened exactly one week later. These shootings led to the formation of the Black Action Defense Committee (BADC) in 1988, which had been active under different names since 1978. BADC was among several Black-led organizations that organized against police brutality in Toronto, and their struggle was widely covered in the local and alternative press. Their efforts led to the Yonge Street Uprising in 1992 and are echoed in the Black Lives Matter movement today. We will not comment on the artist's intent but want to confront the wider social context in which this poster was created. At the very least, its appearance reflects the deep racial segregation that existed in the city's music and art scenes, which we and other white artists benefitted from even as we opposed it. We acknowledge this history and it's why we support community archives and #BlackLivesMatter. *****  To learn more about racism and sexism in industrial music, see the fan blog <a href="https://bit.ly/2DHywwU" target="_blank" rel="noopener">Industrial Anti-Oppression</a>. For a discussion of how the Aunt Jemima logo was received by Black communities in the early 1990s, see Karyn Berry's essay in <a href="https://bit.ly/3aut10F" target="_blank" rel="noopener">The Undefeated</a>. To learn more about the BADC and the Yonge Street Uprising, read Chris Harris' essay in <a href="https://bit.ly/2PJ4wU3" target="_blank" rel="noopener">Upping the Anti</a> and watch <a href="https://bit.ly/2XRwl0K" target="_blank" rel="noopener">It Takes A Riot: Race, Rebellion, Reform</a>. To learn about the racial segregation of Toronto's music scenes during this period, read Ron Nelson's <a href="https://bit.ly/3h0SKA4" target="_blank" rel="noopener">oral history</a> of hip hop shows at the Concert Hall.  For an example of how industrial music artists have taken social context into account in their work, see the discussion of Laibach in "<a href="https://bit.ly/33PuSfh" target="_blank" rel="noopener">Subversive Affirmation: On Mimesis as a Strategy of Resistance</a>." Context Additional information about the item. All day event with musical performances by Faith Nolan, Nu Black Nation, Killer Queen, The Travellers, Dirty Bird and Mourning Sickness. Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. Paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource York Festival of Students Creator An entity primarily responsible for making the resource York Federation of Students Date A point or period of time associated with an event in the lifecycle of the resource 1992-07-11 Contributor An entity responsible for making contributions to the resource Lilian Radovac Description An account of the resource Poster for the York Federation of Students BBQ and Music festival. Source A related resource from which the described resource is derived Lilian Radovac collection Type The nature or genre of the resource Poster Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant York University, The Underground, 4700 Keele Street 1992 Dirty Bird Faith Nolan Killer Queen Mourning Sickness Nu Black Nation The Travellers The Underground York University https://www.alternativetoronto.ca/archive/files/original/cf9939ace064fd465a840480dd603d7f.jpg 83f11fae14464e70e8c5bc1e32f30742 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lilian Radovac Collection Date A point or period of time associated with an event in the lifecycle of the resource 1987-1994 Contributor An entity responsible for making contributions to the resource Lilian Radovac Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. Paper Physical Dimensions The actual physical size of the original image 4.25 x 11 Context Additional information about the item. CKLN was a campus-community radio station based at Ryerson University from 1983-2011. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource CKLN Street Crawl Description An account of the resource Flyer for the 10th anniversary CKLN street crawl in 1993. Source A related resource from which the described resource is derived Lilian Radovac Date A point or period of time associated with an event in the lifecycle of the resource 1993-07-23 Contributor An entity responsible for making contributions to the resource Lilian Radovac Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Poster Creator An entity primarily responsible for making the resource CKLN Rights Information about rights held in and over the resource CKLN 1993 7 Cent Posse Afronubians Bamboo Club Bando Sur By Divine Right Cameron House Chicken Milk Child's Garden of Grass CKLN CKLN Street Crawl Crawlin Crawdads Funkasaurus Horseshoe Tavern Identity King Cobb Steelie Mourning Sickness Precious P Punjabi by Nature Queen Street West Rivoli Rumble Travelling Gundas Ultrasound Zen Bungalow https://www.alternativetoronto.ca/archive/files/original/652185b871eb1a1d8d71ba42362011fd.jpg 11023c8ef38b831f42c205022479d345 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lilian Radovac Collection Date A point or period of time associated with an event in the lifecycle of the resource 1987-1994 Contributor An entity responsible for making contributions to the resource Lilian Radovac Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. Paper Physical Dimensions The actual physical size of the original image 8.5 x 11 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A-Fest show Description An account of the resource Poster for the Survival Gathering show at the Rivoli, 1988. Creator An entity primarily responsible for making the resource Unknown Source A related resource from which the described resource is derived Lilian Radovac Date A point or period of time associated with an event in the lifecycle of the resource 1988-07-05 Contributor An entity responsible for making contributions to the resource Lilian Radovac Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Poster Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rivoli, 334 Queen Street West Rights Information about rights held in and over the resource Unknown 1988 Anarchist Unconvention CKLN Panic Productions Queen Street West Rivoli Survival Gathering https://www.alternativetoronto.ca/archive/files/original/5a3911146b1130807ebdabed8f86bb45.jpg bafc9734dd8d3189e0cebb451a59d2a1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rocky Dobey Portfolio Contributor An entity responsible for making contributions to the resource Rocky Zenyk Dobey Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. silkscreen on butcher paper Physical Dimensions The actual physical size of the original image 20" x 30" Context Additional information about the item. We sold hundreds over the mail and at events to fund the gathering. Also t-shirts and buttons with same design. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Survival Gathering poster Description An account of the resource A silkscreen poster made in the summer of 1987 to fund the Toronto Survival Gathering. Creator An entity primarily responsible for making the resource Rocky Zenyk Dobey Contributor An entity responsible for making contributions to the resource Rocky Zenyk Dobey Date A point or period of time associated with an event in the lifecycle of the resource 1988-06-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 519 Church Street Rights Information about rights held in and over the resource Rocky Zenyk Dobey <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC-BY-NC-ND 4.0</a> Type The nature or genre of the resource poster Format The file format, physical medium, or dimensions of the resource JPEG 1988 519 Church Street Community Centre Anarchist Unconvention Church Street Survival Gathering https://www.alternativetoronto.ca/archive/files/original/820db98a596d6bd335d1a2585709f022.jpg bbc5f34a41eb0fd1a54504a4d0b4eb22 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rocky Dobey Portfolio Contributor An entity responsible for making contributions to the resource Rocky Zenyk Dobey Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. Painted tempered glass Physical Dimensions The actual physical size of the original image 4 ft x 8 ft Context Additional information about the item. It remained up for over 1 year. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Leonard Peltier Description An account of the resource Photograph of a painting on reflection office tower glass that was then mounted to an abandoned building on Queen Street near John. Creator An entity primarily responsible for making the resource Rocky Zenyk Dobey Contributor An entity responsible for making contributions to the resource Rocky Zenyk Dobey Date A point or period of time associated with an event in the lifecycle of the resource 1985-1986 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Across from City-TV on Queen St. West near John Rights Information about rights held in and over the resource Rocky Zenyk Dobey <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC-BY-NC-ND 4.0</a> Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Painting 1985 1986 Leonard Peltier Queen Street West Street Art https://www.alternativetoronto.ca/archive/files/original/4af1aa97e5a8939b7ade0ccc579deba3.jpg aeb178271539933063d164d18b30abb4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rocky Dobey Portfolio Contributor An entity responsible for making contributions to the resource Rocky Zenyk Dobey Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 4 ft x 8 ft Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Bite Your Tongue' Elections Canada Description An account of the resource Painting installed on an abandoned building during the 1984 political election. Creator An entity primarily responsible for making the resource Rocky Zenyk Dobey Contributor An entity responsible for making contributions to the resource Rocky Zenyk Dobey Date A point or period of time associated with an event in the lifecycle of the resource 1984 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Corner of Queen St. West and John St. Rights Information about rights held in and over the resource Rocky Zenyk <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC-BY-NC-ND 4.0</a> Type The nature or genre of the resource Poster Format The file format, physical medium, or dimensions of the resource JPEG 1984 1984 Federal Election John Street Queen Street West Street Art https://www.alternativetoronto.ca/archive/files/original/823ff3d0e521606a0e991a82adea3457.JPG 96b0268e294dcace67e709c51a7b9938 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rocky Dobey Portfolio Contributor An entity responsible for making contributions to the resource Rocky Zenyk Dobey Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 8.5 x 11 Context Additional information about the item. Two live music shows that took place on the second night of the Survival Gathering, which featured Toronto postpunk and queercore bands Fifth Column, Tulpa and Mourning Sickness and US bands MDC, the Layabouts, Scream (featuring a pre-Nirvana Dave Grohl) and The Mr. T Experience. The Silver Dollar show occupied both floors of the club and was packed to far beyond capacity. The event has been cited by <a href="https://www.out.com/entertainment/music/2012/04/12/history-queer-core-gay-punk-GB-JONES">Tom Jennings</a> and others as a pivotal moment in the development of the international Queercore movement. The print at the top of the poster was created by Rocky Dobey and the logos were created by the individual bands, radio stations and venues. We don't yet know who assembled these elements into the final poster design, but we're hoping to find them! [Text by LR] Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Survival Gathering shows Description An account of the resource Poster for the 1988 Anarchist Unconvention shows at the Silver Dollar Club and the Siboney. Creator An entity primarily responsible for making the resource Unknown Contributor An entity responsible for making contributions to the resource Rocky Zenyk Dobey Date A point or period of time associated with an event in the lifecycle of the resource 1988-07-02 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Silver Dollar, 484 Spadina Road Siboney, 169 Augusta Avenue Source A related resource from which the described resource is derived Rocky Zenyk Dobey Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource poster 1988 Anarchist Unconvention Apple Augusta Avenue CHRY Failsafe Fifth Column Kensington Market Layabouts Life Sentence MDC Mourning Sickness Mr T Experience P.L.O. Queercore Scream Siboney Silver Dollar Spadina Avenue Survival Gathering Tulpa https://www.alternativetoronto.ca/archive/files/original/6b0d4af4f25d909dc8f555769c394dd4.jpg e6d4f308c692ffdedaf4f5cb41eb0e8c Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. poster Physical Dimensions The actual physical size of the original image 8 1/2" x 14" Context Additional information about the item. The actual dates of the Cabbagetown Cultural Festival that year were September 14 - 16. You will note that on the posters the dates given for the festival are wrong: that was deliberate. It was distributed, surreptitiously, to various locations around Ward 7, such as libraries, community centres, etc. The Kabbagetown Blackpainters is a made-up name. The reference is to the term "whitepainters" which was widely in use at the time, used to refer to the people who were coming into the area, buying up houses (often rooming houses), and fixing them up. Apparently one of the things that was most noticed was that they tended to paint all the rooms white. We would now use the term "gentrification" instead of "whitepainting." Another commonly used term was "yuppie." A couple of other references in the poster which may not be obvious: "Victorian gas station" refers to a gas station at the corner of Parliament and Amelia which was modernized from its original run-of-the-mill gas station look to have a pseudo-Victorian look with red bricks and such. Made it look like the gas stations in mid-1800s Victorian England, one presumes. The reference to insurance relates to an issue at the time which faced the new middle-class people moving in. The Don Vale area (north of Gerrard) was on an insurance industry blacklist meaning that many insurance companies simply would not insure any house in the area, because of where it was located. This was a problem for the people moving in, who found themselves -- the outrage! -- being treated like poor people. The person standing beside the real estate sign is Darrell Kent, who was probably the most prominent real estate agent active in the area at the time. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cabbagetown Cultural Festival anti-gentrification poster Description An account of the resource Satirical poster for the Cabbagetown Cultural Festival that purposefully indicated the wrong dates. Creator An entity primarily responsible for making the resource Kabbagetown Blackpainters Contributor An entity responsible for making contributions to the resource Simon Vickers Date A point or period of time associated with an event in the lifecycle of the resource 1979-09 Source A related resource from which the described resource is derived <a href="http://www.connexions.org" target="_blank" rel="noopener noreferrer">Connexions Archive</a> Rights Information about rights held in and over the resource Ulli Diemer <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC BY-NC-ND 4.0</a> Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource poster 1979 Cabbagetown Cabbagetown Cultural Festival Connexions Gentrification Kabbagetown Blackpainters https://www.alternativetoronto.ca/archive/files/original/489374b43620d60a8f338d82c895269d.jpg e15b40d4d28e3e13b00ea6fbfe3790e3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mike Hoolboom Collection Source A related resource from which the described resource is derived <a href="http://mikehoolboom.com/" target="_blank" rel="noopener noreferrer"></a> Contributor An entity responsible for making contributions to the resource Simon Vickers Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Context Additional information about the item. The Funnel Film Collective was founded in 1977 in the basement of CEAC. It replaced the Crash 'n' Burn, Toronto's first punk club, which had previously occupied the space. This is their founding charter. [text by SV] Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Funnel Charter Description An account of the resource The charter document of the Funnel Film Collective. Creator An entity primarily responsible for making the resource Funnel Film Collective Contributor An entity responsible for making contributions to the resource Simon Vickers Date A point or period of time associated with an event in the lifecycle of the resource 1977-09 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Centre for Experimental Art and Communication (CEAC), 15 Duncan St Source A related resource from which the described resource is derived <a href="http://mikehoolboom.com/" target="_blank" rel="noopener noreferrer">mikehoolboom.com</a> Rights Information about rights held in and over the resource Funnel Film Collective <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC BY-NC-ND 4.0</a> Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource charter 1977 CEAC Cinema Duncan Street Funnel Film Collective https://www.alternativetoronto.ca/archive/files/original/0f198021b7aa7371a06d881d430f03bd.jpeg e9dae20f9c691de4c7bc607e468058ca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mike Hoolboom Collection Source A related resource from which the described resource is derived <a href="http://mikehoolboom.com/" target="_blank" rel="noopener noreferrer"></a> Contributor An entity responsible for making contributions to the resource Simon Vickers Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cache du Cinéma Description An account of the resource Poster for a 1985 Funnel Film Collective event featuring Toronto-based filmmakers. Creator An entity primarily responsible for making the resource David Anderson Contributor An entity responsible for making contributions to the resource Simon Vickers Date A point or period of time associated with an event in the lifecycle of the resource 1985-01-11 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Funnel, 507 King Street East Source A related resource from which the described resource is derived <a href="http://mikehoolboom.com/" target="_blank" rel="noopener noreferrer">mikehoolboom.com</a> Rights Information about rights held in and over the resource Funnel Film Collective <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC BY-NC-ND 4.0</a> Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource poster 1985 Cinema Funnel Film Collective King Street East https://www.alternativetoronto.ca/archive/files/original/daeaac60d54d7e6190ea4ddf709533fa.jpg 4d7c2ffc657782b48850c9bc8bafe501 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mike Hoolboom Collection Source A related resource from which the described resource is derived <a href="http://mikehoolboom.com/" target="_blank" rel="noopener noreferrer"></a> Contributor An entity responsible for making contributions to the resource Simon Vickers Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Context Additional information about the item. In 1978, after CEAC lost funding, the Funnel Film Collective moved to a new location at 507 King Street East. [text by SV] Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Funnel Announcement of Relocation Description An account of the resource Letter announcing that Funnel is moving to a new theatre at 507 King St. East Creator An entity primarily responsible for making the resource Funnel Film Collective Contributor An entity responsible for making contributions to the resource Simon Vickers Date A point or period of time associated with an event in the lifecycle of the resource 1978-11-22 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Funnel, 507 King Street East Source A related resource from which the described resource is derived <a href="http://mikehoolboom.com/" target="_blank" rel="noopener noreferrer">mikehoolboom.com</a> Rights Information about rights held in and over the resource Funnel Film Collective <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC BY-NC-ND 4.0</a> Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource announcement 1978 CEAC Funnel Film Collective King Street East Ross McLaren https://www.alternativetoronto.ca/archive/files/original/d806dcf45b14abba9d8a6994afb600d8.jpg 10ed65e184783df2608075e27cf3b636 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mike Hoolboom Collection Source A related resource from which the described resource is derived <a href="http://mikehoolboom.com/" target="_blank" rel="noopener noreferrer"></a> Contributor An entity responsible for making contributions to the resource Simon Vickers Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Context Additional information about the item. Funnel released its first issue of the Funnel Newsletter, edited by Anna Gronau, in 1980. [text by SV] Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Funnel Newsletter Creator An entity primarily responsible for making the resource Funnel Film Collective Contributor An entity responsible for making contributions to the resource Simon Vickers Date A point or period of time associated with an event in the lifecycle of the resource 1980-02 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Funnel, 507 King Street East Source A related resource from which the described resource is derived <a href="http://mikehoolboom.com" target="_blank" rel="noopener noreferrer">mikehoolboom.com</a> Rights Information about rights held in and over the resource Funnel Film Collective <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC BY-NC-ND 4.0</a> Description An account of the resource First issue of the Funnel Newsletter. Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource newsletter 1980 Anna Gronau Cinema Funnel Film Collective King Street East https://www.alternativetoronto.ca/archive/files/original/512c15b27a6b6b3544484373a4964c54.jpg afc51305106357e02dc98321f2a17b33 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mike Hoolboom Collection Source A related resource from which the described resource is derived <a href="http://mikehoolboom.com/" target="_blank" rel="noopener noreferrer"></a> Contributor An entity responsible for making contributions to the resource Simon Vickers Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Context Additional information about the item. Funnel film collective members gravitated toward Super 8 films. Super 8 cameras were relatively portable, cheap and easy to use, making them more accessible. [text by SV] Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Super 8 poster Description An account of the resource A poster for the showing of a film called Berlin at the Rivoli Creator An entity primarily responsible for making the resource David Anderson Contributor An entity responsible for making contributions to the resource Simon Vickers Date A point or period of time associated with an event in the lifecycle of the resource 1983-11-09 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Funnel, 507 King Street East Rivoli, 334 Queen Street West Source A related resource from which the described resource is derived <a href="http://mikehoolboom.com" target="_blank" rel="noopener noreferrer">mikehoolboom.com</a> Rights Information about rights held in and over the resource Funnel Film Collective <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC BY-NC-ND 4.0</a> Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource poster 1983 Cinema Funnel Film Collective King Street East Queen Street West Rivoli https://www.alternativetoronto.ca/archive/files/original/aaf60eb6a899f351cf9875dcc510ea28.jpg a173f9043aec3c817c573c682581ccd1 https://www.alternativetoronto.ca/archive/files/original/a1bf7d4f2b735ce31e95b1006bbb2542.jpg ba1610ac2a41b49679a1649b803fc1ff Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lilian Radovac Collection Date A point or period of time associated with an event in the lifecycle of the resource 1987-1994 Contributor An entity responsible for making contributions to the resource Lilian Radovac Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 11 x 4.25 Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. card stock Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Michael Smith memorial Description An account of the resource Invitation to the memorial gathering for Michael Smith. Creator An entity primarily responsible for making the resource Tracey Tief Source A related resource from which the described resource is derived Lilian Radovac Date A point or period of time associated with an event in the lifecycle of the resource 1991-02-23 Contributor An entity responsible for making contributions to the resource Lilian Radovac Rights Information about rights held in and over the resource <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC-BY-NC-ND 4.0</a> Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource invitation Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 57 Homewood Avenue 1991 AIDS Activism Homewood Avenue Memorial Michael Smith Radical Faeries Tracey TieF https://www.alternativetoronto.ca/archive/files/original/9ca3235e9e4cb43f627f2c03dfc93c83.jpg 73cb3e17d15f2597da73ceae0a6bae78 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lilian Radovac Collection Date A point or period of time associated with an event in the lifecycle of the resource 1987-1994 Contributor An entity responsible for making contributions to the resource Lilian Radovac Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. paper Physical Dimensions The actual physical size of the original image 8.5 x 11 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Person Livid With AIDS Description An account of the resource Michael Smith's one-man play about a day in the life of a gay man living with AIDS. With musical support by Steal This Book and a cameo appearance by Mourning Sickness. Creator An entity primarily responsible for making the resource Michael Smith Source A related resource from which the described resource is derived Lilian Radovac Date A point or period of time associated with an event in the lifecycle of the resource 1990-04-18 Contributor An entity responsible for making contributions to the resource Lilian Radovac Rights Information about rights held in and over the resource Michael Smith Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource poster Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Factory Theatre Studio Cafe, 125 Bathurst St. 1990 Bathurst Street Buddies in Bad Times Factory Theatre Michael Smith Mourning Sickness Queerculture Radical Faeries Steal This Book Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Stu Vickars Collection Contributor An entity responsible for making contributions to the resource Stu Vickars Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Copy and paste the text you want to contribute here, or attach a file below. Dragonfly Is 25 By Stu Vickars Revolution was in the air throughout the world at the end of the 60's. It's hard to believe now when the only superpower left is becoming fascist and most national economies are marching to a neo-conservative beat but that was the passion of that time. The feeling was that anything could happen and young people would be the agents of change, a change that had to happen because the status quo was definitely not acceptable. The war in Vietnam was seen as the product of a corrupt system, it was massive violence being wrought upon an innocent people of another race. Governments everywhere were rocked by thousands of protesters in the streets of cities, many campuses had buildings occupied by students with demands. Some people, despairing of changing the system from within, created alternative institutions or moved to the country in order to build a better world. The counter-culture was not a fashion statement; it was the manifestation of the belief that change was imminent. The revolution didn't happen but the social landscape was changed forever. The war in Vietnam was stopped and movements that altered the operating paradigm of this culture had their beginnings (or renewal) in the sixties — environmentalism, feminism, gay rights, black liberation, anarchism, native rights, pacifism and their progressive off-shoots in the next decades — anti-racist action, midwifery, animal rights, organic foods, anti-nukes, alternative schools, co-ops of all kinds, punk rock. The Sex Pistols' Anarchy in the U.K was one of best selling albums of the 70's. No nuclear power plants have been built in the West in the last 20 years. Anti-ballistic missiles were shot down before they left the drawing boards and the UN got a number of important international treaties signed by many nations (with one notable exception). Any politician hoping to get elected (here in Canada) has to pay lip service to a current environmental issue. (How can you tell when a politician is lying? Their lips are moving.) Things may not look too different on the surface than they were 40 years ago but underneath is a new world (still) waiting to be born. The most significant change — one that altered the ground we walk on but is so widespread it hardly gets noticed — is in gender relations. Feminism took many forms from the demand for equal pay for work of equal value to goddess worshipping, womyn-only music festivals. Equal rights for women has come to mean equal opportunity for jobs which is important but also doubled the number of potential wage slaves for Capital to exploit. Feminism has also saved many lives by exposing the darkest side of patriarchy — violence towards women & children. In the domestic sphere, it was usually assumed in communes that housework was to be done by everyone irregardless of sex. It was easier to define what we didn't want in that new world after the revolution — violence, discrimination, patriarchy, poverty — than to define what we did want, what kind of system would replace the old order. When you throw out capitalism and communism, what are you left with? Everybody wants peace & love and while grounding those lofty ideals into more workable concepts like non-violence and co-operation is laudable, it's still a far cry from creating a new society. Armed with such ideals, however, we did our best in the next years to put them into practice amongst ourselves in our own situations. The University of Waterloo was one of the Canadian campuses blessed with strikes & sit-ins around the end of the sixties. At that time, i left home and enrolled in a new experimental program called Man-Environment Studies there. Over the next years, i witnessed another American invasion but this time it was of Yankees opposed to the Empire. An SDS radical came and rapped with the residents of my dorm. Ralph Nader gave a speech and Public Interest Research Groups started popping up. Draft dodgers were being put up in safe houses by university professors. A fellow freak, Jim Campbell, and i started a co-op house to reduce our cost of living and a dozen students crammed into it. Between the two of us, we kept it going for the next 7 years until we bought the land that became Dragonfly. Those were heady days, the 70's — days of struggle and days of joy. The struggle was on all levels from the psychological to global and joy took many forms — dancing, swimming, gardening. We became known as the Fairview Collective and our members took part in many of the projects of the alternative/left community of Waterloo and its sister city of Kitchener — food co-op, resource centres, women's shelters, Third World support, gay liberation, various publications. The percentage of students in our household dwindled over the years but we remained connected to radical campus politics. We engaged in ideological battles there with authoritarian leftists and also got involved in municipal politics over the provision of services like transit. In 1978, enough people with enough money came together at Fairview to buy 250 acres of Canadian Shield in eastern Ontario. I hadn't finished university, having dropped out after two and a half years in order to work on building community. What i had learned in that time was that a utopian world would consist of communities freely associating with each other in federations. By the end of the decade, Jim & i were living an attempt at that dream along with a dozen others. It was a commune but was seldom referred to as such because of the word had fallen into disfavour from being over-hyped by the media. The place was called Dragonfly in honour of the insect that devoured other insects that were the bane of an existence in the backwoods — mosquitoes and black flies. We were the last of a number of groups that had moved to the Bancroft area in that decade, we had joined a cluster of back-to-the-land folks like many that still dot the landscape throughout North America. Over the next 25 years, we maintained a collective identity whereas the previous communes had devolved to families & individuals sharing the land as neighbours or else everyone moved away and the land went back on the market. At first, we wanted to become as self-sufficient as possible so we could provide for our own needs without having to rely on the wage economy. It wasn't just for ideological reasons — opposition to Capitalism and resistance to being bossed in a workplace — but also because we were new to a rural area where there were few jobs to begin with. We were quite industrious in the early years — adding buildings, animals, gardens and machinery to a farm which the old couple we had bought it from had already been recovering from ruin. The population fluctuated greatly and most of the Fairview folk had moved on within a few years. Some have remained involved since then and meetings held once or twice a year on the property help manage the place. Because of the legal structure of our ownership — it's called joint tenants and technically is the same as marriage — the land would be almost impossible to sell. So we're stuck with it for better or for worse. For me, it's a home of last resort, a place i can always return to if all else fails. Some of us started working at a greenhouse operated by back-to-the-land folks north of us. It was a simple plastic and hoop structure used to start vegetable crops and flowers that were sold out the door to customers in the area. When the family running it broke up, we inherited the business and moved the structure to Dragonfly. Since that time, the greenhouse business has become a focal point of activity and interest on the farm while remaining semi-autonomous. It now stands as the oldest retail business around the small village down the road. Our existence has been important to the local counter-culture. The fact of it just being there and not going anywhere has attracted others to move in as neighbours. Dragonfliers have always been involved in the community, engaging in the same realm of activities that we had been at Fairview. We housed the publication of an alternative magazine that had grown out of the food co-op. The provincial anti-nuke network had a meeting there. Later, we had our own version of opposition to the nuclear establishment when the old uranium mine was proposed as a waste dump. (Of course, people who grew up in the area were more militant than we were in getting the idea deep sixed.) Many around Bancroft know of Dragonfly as an entity that is more just the people living there. We also played a role beyond the area because of people going back and forth to the cities and city folks coming to visit. Part of the land is devoted to a conference site which has hosted gatherings of anarchists, new agers, witches and kids. The sixties took a longer time to die there than most other places. I've always seen Dragonfly as 250 acres of potential, there is so much that could have happened and still could. At present, more people would be helpful but first we have to address the reasons people left in the first place and why more are not joining us. There are problems from the outside and another set of problems internally. The lack of employment in the area has been a factor. It's a problem that people have tried to get around by creating their own work, as with the greenhouse. Incomes have also come from selling some crops, making crafts, working with wood, or using computer skills as well as from transfer payments like welfare and pensions. Growth of more houses for people to live in has been limited by legal restrictions that the province forces the municipalities to adopt. The will to challenge these restrictions or to bend them has been lacking, however. The infra-structure that most of us grew up with just isn't there —running water, electricity everywhere, sewage disposal and automatic furnaces. Anyone wanting to live at Dragonfly has to start from scratch. There's also a lack of social infrastructure, the problem of people not being able to relate very well in ways outside of hierarchy and legal retributions. That means there is no effective system of accountability: meetings are held and decisions are reached and then nothing happens. Direct action outside the meetings becomes the way of getting things done — doing it yourself. It's hard to make plans when things are so poorly organized. A hip psych prof in my second year of university was asked why so many communes broke up and he answered with one word —"sex." I would amend that to say "sex and its consequences —offspring." The green-eyed monster of jealousy was always ready to strike but parental break-ups have been more of a problem since the first couple at Fairview decided to have a child. This is where the gender war hits the front lines of social change. We really need some kind of mechanism for resolving conflicts besides having one (or both) parties fleeing the situation. It's always two or more rational adults involved but when emotions get mixed in then reason is a casualty. The bond with a child is quite powerful but two people have it, two people in a world of changing values. The whole world is physically changing. All the latest catastrophes are incontrovertible proof that global warming is a reality. It needs Revolution if there is to be any hope that we won't burn up. Saving the world will take more than words, it will mean putting into practice all the methods of living in harmony with Nature that we are capable of. We know it's possible and it was the only way before civilization drove a wedge between humans and everything else. The greatest value for Dragonfly is that we are part of the movement proving that another way is possible, that the future of humanity is not development as usually conceived of. We don't have to be destined to live in energy-intensive suburbs stretched between mega-cities. Enjoying all the amenities of modern life and eating well do not have to depend on the exploitation of natural resources and other people. Our predecessors (speaking as a white North American) built these countries starting with almost nothing so it behooves us to build a better world (starting with a lot more) because we have to. The technology is there, how many more blackouts will there need to be before we seriously start using it? It is in communities like Dragonfly where such technologies are being tested and new ways of relating to one another are being implemented. There is a Federation of Intentional Communities that stretches around the world, thousands of communities providing living proof that hierarchical capitalism is not the only future in store for us. Dragonfly is a member but more people are needed there and in the whole movement. Co-op houses and lofts in the cities are urban examples of people trying to go beyond the nuclear family, consumer-oriented lifestyle that is driving this planet to the brink of disaster. For me, the Revolution consists of being conscious of my effect on the physical & social environment and then acting in the light of that awareness. When enough people give up their cynicism about change and empower themselves to make a difference about the way things are going, then it will happen. There is hope yet. Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. Word document Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dragonfly is 25 Creator An entity primarily responsible for making the resource Stu Vickars Contributor An entity responsible for making contributions to the resource Lilian Radovac Date A point or period of time associated with an event in the lifecycle of the resource 2003-12 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Dragonfly Source A related resource from which the described resource is derived Stu Vickars Type The nature or genre of the resource essay Rights Information about rights held in and over the resource Stu Vickars <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC-BY-NC-ND 4.0</a> Description An account of the resource An essay commemorating the 25th anniversary of the antiauthoritarian commune Dragonfly. Written for the last issue of Kick It Over which was printed but never published. Format The file format, physical medium, or dimensions of the resource Word doc 2003 Dragonfly Intentional Communities Jim Campbell https://www.alternativetoronto.ca/archive/files/original/5c68bbdb9b53dec21aa12319ce29b193.jpg dc0e90b1cb260ca236fc4e5e72d620d8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Avard Woolaver Portfolio Contributor An entity responsible for making contributions to the resource Avard Woolaver Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. Photo Context Additional information about the item. The Against Cruise Testing Coalition was later renamed A.C.T. for Disarmament. This photo was published in NOW Magazine in 1983. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource U.S. Cruise Missile Protest, Toronto, 1983 Description An account of the resource A protester with ACT! (Against Cruise Testing) in front of the Eaton Centre. A person wearing a Canadian Armed Forces jacket looks on. Creator An entity primarily responsible for making the resource Avard Woolaver Contributor An entity responsible for making contributions to the resource Avard Woolaver Date A point or period of time associated with an event in the lifecycle of the resource 1983 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Yonge St. and Dundas St., Toronto Source A related resource from which the described resource is derived Avard Woolaver From the series: <a href="https://www.flickr.com/photos/avardwoolaver/albums/72157679490736870/with/36553176464/" target="_blank" rel="noopener noreferrer">Toronto Days</a> Rights Information about rights held in and over the resource Avard Woolaver <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC-BY-NC-ND 4.0</a> Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource photograph 1983 A.C.T. for Disarmament Against Cruise Testing Dundas Street Eaton Centre Nuclear Disarmament Peace Movement photography Yonge Street https://www.alternativetoronto.ca/archive/files/original/416285567394d2b357e31142598c2a4c.jpg 0b4856d6631f68279c0f4ba0b50ad7fd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Avard Woolaver Portfolio Contributor An entity responsible for making contributions to the resource Avard Woolaver Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Context Additional information about the item. Taken in the spring of 1985. From the series <a href="https://www.flickr.com/photos/avardwoolaver/albums/72157679490736870/with/36553176464/" target="_blank" rel="noopener noreferrer">Toronto Days</a> Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. Photograph Physical Dimensions The actual physical size of the original image N/A Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Posters, Spadina Avenue, Toronto, 1985 Description An account of the resource Photograph of posters for the legendary Toronto punk band Stark Naked and the Fleshtones. Creator An entity primarily responsible for making the resource Avard Woolaver Contributor An entity responsible for making contributions to the resource Avard Woolaver Date A point or period of time associated with an event in the lifecycle of the resource 1985 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Spadina Avenue and Sullivan Street Source A related resource from which the described resource is derived Avard Woolaver Rights Information about rights held in and over the resource Avard Woolaver <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC BY-NC-ND 4.0</a> Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Photograph 1985 photography Spadina Avenue Stark Naked and the Fleshtones Sullivan Street https://www.alternativetoronto.ca/archive/files/original/6573fa6ce1a527954930b8825cb8e3bf.pdf c2cc99a7fdbf3cc3b5383e7e6e54b0bf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource L. Moore Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. paper Physical Dimensions The actual physical size of the original image 8.5x11 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Burning Ring show poster Description An account of the resource 1984 punk/hardcore show at the Turning Point Creator An entity primarily responsible for making the resource L. Moore Contributor An entity responsible for making contributions to the resource L. Moore Date A point or period of time associated with an event in the lifecycle of the resource 1984-02 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Turning Point, 192 Bloor St West Source A related resource from which the described resource is derived L. Moore Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource poster Rights Information about rights held in and over the resource L. Moore <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a> 1984 Bloor Street West Bodybag Burning Ring Prisoners of Conscience Ski Punks Turning Point https://www.alternativetoronto.ca/archive/files/original/59870fc569e29f4e72d4bf178e97fc88.jpg f5c4537a71c1886a4ef9e4d91f8f29ae Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource L. Moore Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as paper, photo, cassette tape, Super 8, and additional data. paper Physical Dimensions The actual physical size of the original image 8.5x11 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Burning Ring show poster Description An account of the resource 1984 punk/hardcore show at the Upper Lip. Creator An entity primarily responsible for making the resource L. Moore Contributor An entity responsible for making contributions to the resource L. Moore Date A point or period of time associated with an event in the lifecycle of the resource 1984-02-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Upper Lip 620 Yonge St. Source A related resource from which the described resource is derived L. Moore Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource poster Rights Information about rights held in and over the resource L. Moore <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a> 1984 Burning Ring Upper Lip Yonge Street