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&lt;p&gt;A tour of activist resistance culture organized by Jean Smith of the band Mecca Normal, which set out to "spread the word of how to combine poetry, music and politics and have a fun time doing it."&lt;/p&gt;&#13;
&lt;p&gt;The Black Wedge was an anti-authoritarian response to Britain's earlier Red Wedge, and began on the West Coast in 1986 before continuing across Canada in 1987. The performers included Vancouver's Mecca Normal, San Francisco's Peter Plate, Montreal's Rhythm Activism and Toronto artists Bryan James and Mourning Sickness.&lt;/p&gt;&#13;
&lt;p&gt;To learn more, read this excerpt from Smith's essay "&lt;a href="https://blackdotmuseum.wordpress.com/the-black-wedge-1986/" target="_blank" rel="noopener"&gt;The Black Wedge Tours: Take Something You Care About and Make it Your Life&lt;/a&gt;," in &lt;em&gt;Sounding Off — Music as Resistance / Rebellion / Revolution&lt;/em&gt;, eds. Ron Sakolsky and Fred Ho, (New York: Autonomedia, 1996).&lt;/p&gt;&#13;
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              <text>&lt;p&gt;Hardcore ran as part of the 1990 Toronto Fringe Festival and featured excerpts from Gwendolyn's films &lt;em&gt;Prowling by Night&lt;/em&gt; and &lt;em&gt;Out of the Blue&lt;/em&gt;.&lt;/p&gt;&#13;
&lt;p&gt;Cover drawing by Mary Anne.&lt;/p&gt;</text>
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              <text>&lt;p&gt;This show was one of a series of benefits for ACT for Disarmament and took place after a demonstration to protest the 1991 Gulf War.&lt;/p&gt;&#13;
&lt;p&gt;Nicole Tanguay is a Two-Spirit poet, playwright, musician and advocate for Indigenous rights. Their work has appeared in the anthologies T&lt;em&gt;he Colour of Resistance: A Contemporary Collection of Writing by Aboriginal Women&lt;/em&gt; (Toronto: Sister Vision Press, 1993), &lt;em&gt;Miscegenation Blues: Voices of Mixed Race Women&lt;/em&gt;, ed. Carol Camper (Toronto: Sister Vision Press, 1994) and &lt;a href="https://chbooks.com/Books/A/Any-Other-Way" target="_blank" rel="noopener"&gt;Any Other Way: How Toronto Got Queer&lt;/a&gt;, eds. John Lorinc, Jane Farrow, Stephanie Chambers et al.&amp;nbsp; (Toronto: Coach House Books, 2017).&lt;/p&gt;&#13;
&lt;p&gt;A studio recording of "By Any Means Necessary" appears on the unreleased Mourning Sickness CD &lt;em&gt;Nihil Obstat&lt;/em&gt; and is included here. The full album is available on the band's &lt;a href="https://soundcloud.com/mourningsickness" target="_blank" rel="noopener"&gt;Soundcloud page&lt;/a&gt;.&lt;/p&gt;</text>
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              <text>&lt;p&gt;This show was one of a series of benefits for ACT for Disarmament and took place after a demonstration to protest the 1991 Gulf War.&lt;/p&gt;&#13;
&lt;p&gt;"Cells" is a poem by the Seneca writer Mary Bennett, which appeared in &lt;a href="http://sinisterwisdom.org/sites/default/files/Sinister%20Wisdom%2022%20and%2023.pdf" target="_blank" rel="noopener"&gt;&lt;em&gt;Sinister Wisdom: A Gathering of Spirit&lt;/em&gt;&lt;/a&gt; 22/23, ed. Beth Brant (Iowa City: Iowa City Women's Press, 1983). It was later reprinted in the anthology &lt;em&gt;A Gathering of Spirit: A Collection by North American Indian Women,&amp;nbsp;&lt;/em&gt;eds. Michelle Cliff and Adrienne Rich (Ithica NY: Firebrand Books, 1988).&lt;/p&gt;&#13;
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              <text>&lt;div style="padding: 56.25% 0 0 0; position: relative;"&gt;&lt;iframe width="300" height="150" style="position: absolute; top: 0; left: 0; width: 100%; height: 100%;" src="https://player.vimeo.com/video/298796745?title=0&amp;amp;byline=0&amp;amp;portrait=0" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt;&lt;/div&gt;&#13;
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              <text>&lt;p&gt;This show was one of a series of benefits for ACT for Disarmament and took place after a demonstration to protest the 1991 Gulf War.&lt;br /&gt;&lt;br /&gt;"The Rubber Rap" was originally written by The Fuckheads (aka Michael Smith, Tracey Tief, Kenn Quayle and other residents of the queer punk house Kathedral B) and was performed by Mourning Sickness in Smith's play &lt;em&gt;Person Livid with AIDS&lt;/em&gt;. Here, they are joined by members of the band Steal This Book.&lt;/p&gt;&#13;
&lt;p&gt;Lyric page, with performance notes, from the zine &lt;em&gt;Coming On&lt;/em&gt; (Fall 1988).&lt;/p&gt;&#13;
&lt;p&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;Mecca Normal, Mourning Sickness and Bryan James show at the Rivoli. This was a partial reunion of the Black Wedge tour lineup from the previous year.&lt;/p&gt;&#13;
&lt;p&gt;The Black Wedge tour was an anti-authoritarian response to Britain's earlier Red Wedge, and began on the West Coast in 1986 before continuing across Canada in 1987. The performers included Vancouver's Mecca Normal, San Francisco's Peter Plate, Montreal's Rhythm Activism and Toronto artists Bryan James and Mourning Sickness.&lt;/p&gt;&#13;
&lt;p&gt;To learn more, read this excerpt from Smith's essay "&lt;a href="https://blackdotmuseum.wordpress.com/the-black-wedge-1986/" target="_blank" rel="noopener"&gt;The Black Wedge Tours: Take Something You Care About and Make it Your Life&lt;/a&gt;," in &lt;em&gt;Sounding Off — Music as Resistance / Rebellion / Revolution&lt;/em&gt;, eds. Ron Sakolsky and Fred Ho, (New York: Autonomedia, 1996).&lt;/p&gt;</text>
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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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