Contents Under Pressure: A (Queer) Techno Manifesto

Luis-Manuel Garcia, “Techno-Tourism and Post-industrial Neo-romanticism in Berlin’s Electronic Dance Music Scenes,” Tourist Studies 16, no. 3 (2016): 277.

Luis-Manuel Garcia, “An Alternate History of Sexuality in Club Culture,” Resident Advisor, January 28, 2014 →.

Garcia, “An Alternate History.”

For more scholarship on marginalized communities and dance music, see Micah Salkind, Do You Remember House?: Chicago’s Queer of Color Undergrounds (Oxford University Press, 2019), which offers a rich, layered narrative of the racial dynamics of dance music. See also Dhanveer Singh Brar, Teklife / Ghettoville / Eski: The Sonic Ecologies of Black Music in the Early 21st Century (Goldsmiths Press, 2021), which offers a critical history of Black electronic dance music.

Blair Black, “The Queer of Color Sound Economy in Electronic Dance Music,” Current Musicology, no. 106 (2020): 12.

DeForrest Brown, Jr., “How the Dance Music Industry Failed Black Artists,” Mixmag, October 21, 2020 →.

Black, “Queer of Color Sound Economy,” 13.

André Wheeler, “Make Techno Black Again: A Social Experiment Subverts Whitewashing in Clubs,” The Guardian, March 18, 2020 →.

Nichole N. Christian, “Introducing Techno to the City That Spawned Motown,” New York Times, May 29, 2000.

Christian, “Introducing Techno.”

Christian, “Introducing Techno.”

See DeForrest Brown, Jr, Assembling a Black Counter Culture (Primary Information, 2022).

Paul Gilroy, Darker than Blue: On the Moral Economies of Black Atlantic Culture (Harvard University Press, 2010), 128.

Alexander G. Wehelieye, “Feenin: Posthuman Voices in Contemporary Black Popular Music,” Social Text 71 (vol. 20, no. 2, 2002): 22.

Black to Techno, directed by Jenn Nkiru (commissioned by Frieze and Gucci, 2019).

See Kevin Lozano, “An Introduction to NON Worldwide,” Red Bull Music Academy, May 17, 2016 →.

“Make Techno Black Again,” September 28, 2020 →. See also →.

Audre Lorde, “Uses of the Erotic: The Erotic as Power,” in Zami, Sister Outsider, Undersong (Quality Paperback Book Club, 1993), 327.

Robin James, “Loving the Alien,” The New Inquiry, October 2022, 2012 →.

“Edging,” Urban Dictionary →.

“Frequencies of Blackness: A Listening Session,” The Sojourner Project (Practicing Refusal Collective, 2020) →.

Paul C. Jasen, Low End Theory: Bass, Bodies, and the Materiality of Sonic Experience (Bloomsbury, 2016), 152.

Jasen, Low End Theory, 22.

Kodwo Eshun, “Carl Craig: Listen To The Future,” i-D, April 1995 →.

Kodwo Eshun, More Brilliant Than The Sun: Adventures in Sonic Fiction (Quartet Books, 1998), 118.

Quoted in Nick Fulton, “Jasmine Infiniti Makes Deliciously Dark, Apocalyptic Rave Music,” i-D, April 2, 2020 →.

Tina Campt, “The Visual Frequency of Black Life: Love, Labor, and the Practice of Refusal,” Social Text 140 (vol. 37, no. 3, 2019): 25.

For more on the connection between sound, noise, and disorder, see Steve Goodman, Sonic Warfare: Sound, Affect, and the Ecology of Fear (MIT Press, 2012) and Brandon LaBelle, Sonic Agency: Sound and Emergent Forms of Resistance (Goldsmiths Press, 2018).

Yetta Howard, “The Queerness of Industrial Music,” Social Text 133 (vol. 35, no. 4, 2017): 47.

Howard, “The Queerness of Industrial Music,” 34.

Howard, “The Queerness of Industrial Music,” 37.

See →.

José Esteban Munõz, “‘Gimme Gimme This ... Gimme Gimme That’: Annihilation and Innovation in the Punk Rock Commons,” Social Text 116 (vol. 31, no.3, 2013): 97.

Munõz, “‘Gimme Gimme This,’” 98.

The WhoreDykeBlackTransFeminist Network, “A Manifesto for the Trans-Feminist Insurrection,” October 20, 2010 →.