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              <text>&lt;p&gt;&lt;span&gt;This statement provides context for a gig poster that was briefly posted in the Alternative Toronto Facebook group in the summer of 2020.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;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.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;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.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;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 &lt;a href="https://bit.ly/2NQevtb" target="_blank" rel="noopener"&gt;interviews&lt;/a&gt; &lt;/span&gt;&lt;span&gt;and challenged in our performances. We would like to address this poster now.&lt;/span&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;Art historian Dr. Cheryl Thompson explains the historical lineage of the image of Aunt Jemima, and we recommend her &lt;a href="https://bit.ly/2XQxZjl" target="_blank" rel="noopener"&gt;online essay&lt;/a&gt;&amp;nbsp;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 &lt;a href="https://bit.ly/2DZy6Sg" target="_blank" rel="noopener"&gt;Berkeley Revolution&lt;/a&gt; archive for one early example) has finally resulted in its being retired as a corporate logo by Quaker Oats.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;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.&lt;br /&gt;&lt;br /&gt;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.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;We will not comment on the artist's intent but want to confront the wider social context in which this poster was created.&amp;nbsp;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.&amp;nbsp;We acknowledge this history and it's why we support community archives and #BlackLivesMatter.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;*****&lt;/span&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;To learn more about racism and sexism in industrial music, see the fan blog &lt;a href="https://bit.ly/2DHywwU" target="_blank" rel="noopener"&gt;&lt;em&gt;Industrial Anti-Oppression&lt;/em&gt;&lt;/a&gt;.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;For a discussion of how the Aunt Jemima logo was received by Black communities in the early 1990s, see Karyn Berry's essay in &lt;a href="https://bit.ly/3aut10F" target="_blank" rel="noopener"&gt;&lt;em&gt;The Undefeated&lt;/em&gt;&lt;/a&gt;.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;To learn more about the BADC and the Yonge Street Uprising, read Chris Harris' essay in &lt;a href="https://bit.ly/2PJ4wU3" target="_blank" rel="noopener"&gt;&lt;em&gt;Upping the Anti&lt;/em&gt;&lt;/a&gt;&amp;nbsp;and watch &lt;a href="https://bit.ly/2XRwl0K" target="_blank" rel="noopener"&gt;&lt;em&gt;It Takes A Riot: Race, Rebellion, Reform&lt;/em&gt;&lt;/a&gt;.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;To learn about the racial segregation of Toronto's music scenes during this period, read Ron Nelson's &lt;a href="https://bit.ly/3h0SKA4" target="_blank" rel="noopener"&gt;oral history&lt;/a&gt; of hip hop shows at the Concert Hall.&lt;/span&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;For an example of how industrial music artists have taken social context into account in their work, see the discussion of Laibach in "&lt;a href="https://bit.ly/33PuSfh" target="_blank" rel="noopener"&gt;Subversive Affirmation: On Mimesis as a Strategy of Resistance&lt;/a&gt;."&lt;/span&gt;&lt;/p&gt;</text>
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              <text>AT recently talked to Valerie Buhagiar regarding this play which ran for approximately 2 weeks in the early nineties "It was a coming out story for Nancy and her father Frank was in there as well. I sang one song (badly) and the band played through out. It was a riot!"  [HK]</text>
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                <text>Fiona Smyth - Nocturnal Emissions Comic Press Release</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Press release for the launch party held at the Theodore Museum of Contemporary Art for Toronto artist Fiona Smyth's comic Nocturnal Emissions, published by Vortex Comics. </text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Vortex Comics</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Hal Kelly</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1991-08-09</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Theodore Museum of Contemporary Art, 111 Bathurst Street, Toronto</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Hal Kelly Collection</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="2168">
                <text>Vortex Comics.</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>JPEG</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Press Release</text>
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        <name>1991</name>
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        <name>Comic Art</name>
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        <name>Fiona Smyth</name>
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        <name>Nocturnal Emissions</name>
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        <name>Theodore Museum of Contemporary Art</name>
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        <name>Vortex Comics</name>
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