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42. Mbembe (2003, 11). 43. Bessy (1977, 4). 44. Nicole Panter (2005), in an interview with Alice Bag, recollects Screamers’ performances as ‘‘so dark and fun and different. . . . I saw a video of them a couple of years ago and I was struck by how flamingly gay they were.’’ 45. Halberstam (2011, 185–7). 46. ‘‘Fantastic failure’’ is a phrase from Halberstam (2011, 187). 47. Ferguson (2003, 144). 48. Cherie the Penguin quoted in Lee (1983, 21). 49. Additionally, Roderick Ferguson and David Eng note that racialization is sometimes accompanied by feminization, where race also points to an excess in gender. Ferguson (2003, 58–66) and Eng (2001, 1–4). 50. Named ‘‘Luxury living,’’ for instance, by Margot Olaverra in an interview with Craig Lee in 1980, and named ‘‘Living at the Canterbury’’ when released by I.R.S. Records in 1994 (1994a). Olaverra quoted in Lee (1980, 26); The Go-Go’s (The Go-Go’s 1994b). 51. Jane Wiedlin quoted in Felt and Robles (1992, 50). The Go-Go’s (1994b). 52. See Patterson (1997, 26–7); Olaverra quoted in Lee (1980, 27); and Olaverra quoted in Spitz and Mullen (2001, 168). 53. Bag (2011, 290). 54. Bag (2011, 232). 55. Bessy (1978a, 5). 56. Margot Olaverra notes that his name was actually Oliver and his connection to Rastafarianism was suspect. Olaverra quoted in Lee (1980, 26). 57. Chandan Reddy usefully addresses this kind of seeming epistemological contradiction and ‘‘the disorientation many Americans feel when they see supposedly progressive and egalitarian groups willing to share their beds with violent types like the military or the imperial actor’’ (2012, 5). 58. Cacho (2007, 194) notes these phrases in relationship to how men of color’s lives are devalued, to seemingly naturalize and justify their early deaths. 59. Similarly, Barbara Johnson writes about woman as allegory in an argument about the role of women in critical theory. Johnson (1994, 59) argues that: ‘‘As an allegory, the female figure is not a literal representation of a woman as artist or theorist – not a ‘real woman’ – but rather an enabling figure for the production of male artists. ‘Woman’ is thus both that which is not, and that without which there cannot be.’’ For the non-punks that inhabited the Canterbury, personhood remained elusive, while their role as allegory enabled the production of resistant artistry. 60. Jane Wiedlin, quoted in Lee (1980, 27). She notes this in relation to a rape that occurred downstairs from Margot Olaverra, Black Randy’s having written ‘‘Apes Live Here’’ on the doors of the suspected offenders, and two black men aggressively knocking on Carlisle’s door. These other incidents from the same article relayed by Margot Olaverra and Belinda Carlisle. 61. Tom Petty and the Heartbreakers (1979). 62. For more on the riot see Spitz and Mullen (2001, 188–91). 63. Even scholar Dewar MacLeod mentions his presence at this event, I believe as a form of authorizing his scholarship, in the introduction to his Kids of the black hole, 13 (Macleod 2010). 64. Quoted in Davis (1990, 268). Davis also notes ‘‘The ‘them’ – what a local mayor calls ‘the Viet Cong abroad in our society’ – are the members of local Black gangs,’’ as a display of how policing targeted men of color in particular (1990, 268). 65. Snowden (1997, 157). 66. Soja (1989, 218). 67. Flyer dated Saturday, 19 July. The date corresponds with the calendar for 1980 (Human Hands 1980). 68. McKenna (1979b, N95).