debauchery and aura of resis- tance within techno music’s sensory pleasures. Through his selection of music—dance tracks spanning 1988 to 2021—Cokes intentionally undermines Gilbert and Pearson’s heteronormative critiques of disco, revealing the dance music to be at odds with the now-dated text and its moralizing impulse. The emphasis on queer politics, and particularly the solidarity engen- dered between Latinx and Black communities inside this culture, becomes a rallying cry for sonic liberation and hope for a future of collectivity once again.
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