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Notes
1. Mali D. Collins-White, Ariane Cruz, Jillian Hernandez, Xavier Livermon, Kaila Story and Jennifer Nash, ‘Disruptions in Respectability: A Roundtable Discussion’, Souls: A Critical Journal of Black Politics, Culture, and Society 18, no. 2–4 (2016): 463–75 (471).
2. Stand out examples of club-related archives that do exist include the Dan Sicko Papers at the University of Michigan, which chronicles the emergence of the techno/rave scene in Detroit; the 90s Rave Collection at Cornell University; the ruckus! archive of black queer livelihood in the UK; and the GLBT Historical Society of San Francisco, which in 2019 curated an exhibit of San Francisco-focused queer nightlife photography by Melissa Hawkins. This is in addition to the recent wave of nightlife focused museum exhibitions in important venues like the Barbican, Saatchi Gallery, and the Vitra Design Museum, which have all recently curated exhibitions on visual art and design centered around nightlife.
3. S. Tay Glover and Julian Kevon Glover, ‘She Ate My Ass and My Pussy All Night: Deploying Illicit Eroticism, Funk, and Sex Work among Black Queer Women Femmes’, American Quarterly 71, no.1 (2019): 171–7 (179).
4. Alyson Campbell and Stephen Farrier, ‘Introduction: Queer Dramaturgies’, in Queer Dramaturgies: International Perspectives on Performance Leads Queer (Basingstoke: Palgrave, 2016), 6.
5. Ibid., 7.
6. See Brian Massumi, Semblance and Event: Activist Philosophy and the Occurrent Arts (Cambridge, MA: MIT Press, 2013).
7. Nan Boyd, Wide Open Town: A History of Queer San Francisco to 1965 (Berkeley: University of California Press, 2005), 126.
8. Anjali Arondekar, Ann Cvetkovich, Christina B. Hanhardt et al., ‘Queering Archives: A Roundtable Discussion’, Radical History Review 122 (2015): 211–31 (222).
9. Ibid.
10. Peggy Phelan, Unmarked: The Politics of Performance (London: Routledge, 1993), 147–8.
11. Rebecca Schneider, ‘Performance Remains’ in Perform, Repeat, Record: Live Art in History, ed. Amelia Jones and Adrian Healthfield (Bristol: Intellect Books, 2012), 145–6.
12. Collins-White, ‘Disruptions in Respectability’, 473.
13. José Muñoz, ‘Ephemera as Evidence: Notes to Queer Acts’, Women & Performance: A Journal of Feminist Theory 8, no. 2 (1996): 5–16 (6).
14. madison moore, ‘Nightlife As Form’, Theater 46, no. 1 (2016): 48–63.
15. Jack Halberstam, In a Queer Time and Place: Transgender Bodies, Subcultural Lives (New York: New York Unicersity Press, 2005), 1–2.
16. José Muñoz, ‘Ephemera as Evidence: Introductory Notes to Queer Acts’, 7–8, 10.
17. Hayes Edwards, 946. [full citation is missing].
18. Martin F. Manalansan, ‘The “Stuff” of Archives: Mess, Migration and Queer Lives’, Radical History Review 120 (2014): 94–107 (94).
19. ‘Arondekar’, Cvetkovich, Hanhardt et al., ‘Queering Archives’, 214.
20. Saidiya Hartman, ‘Venus in Two Acts’, Small Axe 12, no. 2 (2008): 1–14 (11).