I had planned to give this issue a sub-title like “Hidden Histories”, a vaguely mysterious coverall I thought might be broad enough to elicit some interesting articles, yet still allow things to hang together. After all, everything about performance could be said to be hidden in some sense, in various margins – art, theatre, gender, taste, venue – it seemed safe. Of course safety is not what Performance is about, as I was abruptly reminded once the writing was in. Choices like “Performance Foams at the Mouth”, “Rants and Raves”, “Cavils”, or “Tirades” were more apt. It seems there are some very testy performance artists out there these days. As Tanya Mars reminds us, it’s infuriating to have to explain again and again and after 20 years of work, what it is that you’re doing. Or perhaps the touchiness comes from being “the advance nervous system for society” (McLuhan’s description of the artist’s role). It makes us feel pretty raw to be the advance nervous system of a society that has rolled up its centre into a tight little ball of banks and banquettes. Don’t forget that Andy Paterson’s “Performance: A Performance” was cited at Metro Toronto City Council as an example of wasteful spending on the arts. As Paterson puts it, ‘“Performance: A Performance’ marks a personal return to a live presentation format after years of absence or denial.” Perhaps one begins to sense that time is running out and that any pussyfooting is over. The great digital revolution is underway – but before we get turned into “sentient images” our bodies will have their say. Louise Liliefeldt unequivocally puts hers on the line, The Drag Kings, two or more. The Right have (been) elected to drag us into the 21st century kicking and screaming. So be it. We won’t go gently. We’re “Out for Blood”, back in five minutes. Or as Stelarc says: “Memory results in mimicry, reflection will not suffice. THE BODY MUST BURST FROM ITS BIOLOGICAL, CULTURAL AND PLANETARY CONTAINMENT.”