1
20
526
-
https://www.alternativetoronto.ca/archive/files/original/7d1ac1864060e25b41ac3fd7926e3c53.jpeg
9486c7da29f0e14f045beae2e8aefa85
Dublin Core
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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
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8.5 x 11
Text
Copy and paste the text you want to contribute here, or attach a file below.
<p><span>This statement provides context for a gig poster that was briefly posted in the Alternative Toronto Facebook group in the summer of 2020.</span></p>
<p><span>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.</span></p>
<p><span>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.</span></p>
<p><span>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> </span><span>and challenged in our performances. We would like to address this poster now.</span><span> </span></p>
<p><span>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.</span></p>
<p><span>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.<br /><br />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.</span></p>
<p><span>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.</span></p>
<p><span>*****</span><span> </span></p>
<p><span>To learn more about racism and sexism in industrial music, see the fan blog <a href="https://bit.ly/2DHywwU" target="_blank" rel="noopener"><em>Industrial Anti-Oppression</em></a>.</span></p>
<p><span>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"><em>The Undefeated</em></a>.</span></p>
<p><span>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"><em>Upping the Anti</em></a> and watch <a href="https://bit.ly/2XRwl0K" target="_blank" rel="noopener"><em>It Takes A Riot: Race, Rebellion, Reform</em></a>.</span></p>
<p><span>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.</span><span> </span></p>
<p><span>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>."</span></p>
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
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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
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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
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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
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Lilian Radovac
Format
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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
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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
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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
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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
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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 <br /><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
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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
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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<br /><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
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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<br /><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
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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
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8.5 x 11
Context
Additional information about the item.
<p>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.</p>
<p>The Silver Dollar show occupied both floors of the club and was packed to far beyond capacity.</p>
<p>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.</p>
<p>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!</p>
<p>[Text by LR]</p>
Original Format
The type of object, such as paper, photo, cassette tape, Super 8, and additional data.
paper
Dublin Core
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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
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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<br /><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
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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
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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
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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<br /><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
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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
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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<br /><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
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Mike Hoolboom Collection
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<a href="http://mikehoolboom.com/" target="_blank" rel="noopener noreferrer"></a>
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Simon Vickers
Still Image
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In 1978, after CEAC lost funding, the Funnel Film Collective moved to a new location at 507 King Street East. [text by SV]
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Funnel Announcement of Relocation
Description
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Letter announcing that Funnel is moving to a new theatre at 507 King St. East
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Funnel Film Collective
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Simon Vickers
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1978-11-22
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The Funnel, 507 King Street East
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<a href="http://mikehoolboom.com/" target="_blank" rel="noopener noreferrer">mikehoolboom.com</a>
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Funnel Film Collective<br /><a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC BY-NC-ND 4.0</a>
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JPEG
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announcement
1978
CEAC
Funnel Film Collective
King Street East
Ross McLaren
-
https://www.alternativetoronto.ca/archive/files/original/d806dcf45b14abba9d8a6994afb600d8.jpg
10ed65e184783df2608075e27cf3b636
Dublin Core
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Mike Hoolboom Collection
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<a href="http://mikehoolboom.com/" target="_blank" rel="noopener noreferrer"></a>
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Simon Vickers
Still Image
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Funnel released its first issue of the Funnel Newsletter, edited by Anna Gronau, in 1980. [text by SV]
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Funnel Newsletter
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Funnel Film Collective
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Simon Vickers
Date
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1980-02
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The Funnel, 507 King Street East
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<a href="http://mikehoolboom.com" target="_blank" rel="noopener noreferrer">mikehoolboom.com</a>
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Funnel Film Collective<br /><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.
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JPEG
Type
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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
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Mike Hoolboom Collection
Source
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<a href="http://mikehoolboom.com/" target="_blank" rel="noopener noreferrer"></a>
Contributor
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Simon Vickers
Still Image
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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]
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Super 8 poster
Description
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A poster for the showing of a film called Berlin at the Rivoli
Creator
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David Anderson
Contributor
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Simon Vickers
Date
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1983-11-09
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The Funnel, 507 King Street East
Rivoli, 334 Queen Street West
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<a href="http://mikehoolboom.com" target="_blank" rel="noopener noreferrer">mikehoolboom.com</a>
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Funnel Film Collective<br /><a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC BY-NC-ND 4.0</a>
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JPEG
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poster
1983
Cinema
Funnel Film Collective
King Street East
Queen Street West
Rivoli
-
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a173f9043aec3c817c573c682581ccd1
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ba1610ac2a41b49679a1649b803fc1ff
Dublin Core
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Lilian Radovac Collection
Date
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1987-1994
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Lilian Radovac
Still Image
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11 x 4.25
Original Format
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card stock
Dublin Core
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Michael Smith memorial
Description
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Invitation to the memorial gathering for Michael Smith.
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Tracey Tief
Source
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Lilian Radovac
Date
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1991-02-23
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Lilian Radovac
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<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC-BY-NC-ND 4.0</a>
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invitation
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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
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Lilian Radovac Collection
Date
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1987-1994
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Lilian Radovac
Still Image
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Original Format
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paper
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8.5 x 11
Dublin Core
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Person Livid With AIDS
Description
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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.
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Michael Smith
Source
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Lilian Radovac
Date
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1990-04-18
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Lilian Radovac
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Michael Smith
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JPEG
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poster
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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
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Stu Vickars Collection
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Stu Vickars
Text
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Text
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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
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Title
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Dragonfly is 25
Creator
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Stu Vickars
Contributor
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Lilian Radovac
Date
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2003-12
Coverage
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Dragonfly
Source
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Stu Vickars
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essay
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Stu Vickars <br /><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.
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Word doc
2003
Dragonfly
Intentional Communities
Jim Campbell
-
https://www.alternativetoronto.ca/archive/files/original/5c68bbdb9b53dec21aa12319ce29b193.jpg
dc0e90b1cb260ca236fc4e5e72d620d8
Dublin Core
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Avard Woolaver Portfolio
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Avard Woolaver
Still Image
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Context
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The Against Cruise Testing Coalition was later renamed A.C.T. for Disarmament. This photo was published in NOW Magazine in 1983.
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U.S. Cruise Missile Protest, Toronto, 1983
Description
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A protester with ACT! (Against Cruise Testing) in front of the Eaton Centre. A person wearing a Canadian Armed Forces jacket looks on.
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Avard Woolaver
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Avard Woolaver
Date
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1983
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Yonge St. and Dundas St., Toronto
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Avard Woolaver<br />From the series: <a href="https://www.flickr.com/photos/avardwoolaver/albums/72157679490736870/with/36553176464/" target="_blank" rel="noopener noreferrer">Toronto Days</a>
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Avard Woolaver<br /><a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC-BY-NC-ND 4.0</a>
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JPEG
Type
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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/.
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Avard Woolaver Portfolio
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Avard Woolaver
Still Image
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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
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Photograph
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N/A
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Posters, Spadina Avenue, Toronto, 1985
Description
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Photograph of posters for the legendary Toronto punk band Stark Naked and the Fleshtones.
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Avard Woolaver
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Avard Woolaver
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1985
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Spadina Avenue and Sullivan Street
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Avard Woolaver
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Avard Woolaver <br /><a href="https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC BY-NC-ND 4.0</a>
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PDF
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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<br /><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<br /><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