In this episode of Music and Revolution, Rolf Straubhaar dives into Woody Guthrie’s 1948 masterpiece, "Deportee (Plane Wreck at Los Gatos)". On January 28, 1948, a plane carrying 28 Mexican farmworkers crashed in California, killing everyone on board. While the media reported the names of the American flight crew, the Mexican workers were left completely anonymous, labeled only as "deportees". Guthrie wrote a poem giving these unnamed victims symbolic names—Juan, Rosalita, Jesús, and María—to honor their humanity and expose an immigration system that uses foreign labor for profit while treating the workers as disposable.

The episode traces the history of the poem, from its transformation into a song by Martin Hoffman in 1958 to its first recording by Cisco Houston in 1960. Rolf analyzes the track verse-by-verse, connects it to Guthrie's earlier dust bowl and labor songs, and explores its multi-decade cover history through folk, country, rock, and Tejano artists. The episode concludes with author Tim Z. Hernandez's project to recover the true names of all 28 crash victims, placing their real names on a Fresno memorial 65 years later.

What You'll Find in This Episode

• The Crash at Los Gatos Canyon (1948): The history behind the DC-3 plane crash in California’s San Joaquin Valley, the media's erasure of the 28 Mexican farmworkers, and their burial in an anonymous mass grave.
• Woody Guthrie's Act of Naming: How Guthrie wrote the original poem in Coney Island to give identity, dignity, and symbolic names to the nameless dead.
• Guthrie’s California Roots: Connecting "Deportee" to Guthrie’s earlier classics like "This Land Is Your Land," "Do Re Mi," and "Union Maid," highlighting his solidarity with Mexican and Chicano agricultural workers.
• Martin Hoffman & Cisco Houston: How an English student set Guthrie's poem to music in 1958, leading to Cisco Houston's debut 1960 recording.
• Verse-by-Verse Breakdown: A close reading of the song's critique of the U.S. agricultural economy, the Bracero Program, seasonal exploitation, and the dehumanizing language of deportation.
• Waves of Cover Versions: A musical tour covering six decades of reinterpretations, including Joan Baez, The Byrds, Dolly Parton, The Highwaymen, Billy Bragg, Los Super Seven, Ani DiFranco, and modern 2025–2026 releases.
• Personal Reflection: Rolf's memory of teaching adult ESL classes in Houston and experiencing the sudden, quiet disappearance of an immigrant student named Miguel.
• Recovering the Names: The story of professor Tim Z. Hernandez identifying all 28 original victims in 2013, culminating in a dedicated gravestone reading of their real names.

Keywords

• Woody Guthrie
• Deportee (Plane Wreck at Los Gatos)
• Immigration history
• Bracero Program
• Los Gatos Canyon
• Tim Z. Hernandez
• Cisco Houston
• Martin Hoffman
• Pete Seeger
• Joan Baez
• Dolly Parton
• The Highwaymen
• Los Super Seven
• Ani DiFranco
• Protest music
• Labor rights
• Farmworker justice
• Public humanities
• Music and Revolution

Hey everyone! Quick format update for you today: moving forward, Music and Revolution is shifting to a biweekly schedule. So instead of dropping every single week, you’ll be getting a fresh episode every two weeks.

Because of the new pace, there won't be a brand-new episode dropping today, Wednesday, August 12th. The next new episode will be coming out next Wednesday, August 19th.

While I understand (and take as a compliment!) if any of y’all are disappointed, this change was made to make sure the show stays sustainable—I’m pretty much a one-person show here, and I want to keep doing this for a long time without burning out.

My hope is that this will give y’all a good excuse to dive back into the archives!

Listenership has taken off in a huge way since the Born in the USA episode, which means a lot of you might have missed some of my earlier shows.

So, if you're looking for something to listen to right now, here are a few favorites from the vault that I would encourage you to give a spin.

You could pour yourself a cup of ambition and check out my episode on Dolly Parton’s "9 to 5," or queue up the show on Tracy Chapman’s "Talkin’ ’Bout a Revolution". She wrote this four-chord classic as a teenager, zeroing in on Reagan-era economic inequality and the quiet conversations happening in unemployment lines.

If you missed my pride month episodes, there’s one on Diana Ross’s "I’m Coming Out," with an unbelievable back-story about Nile Rodgers getting inspired to write the track while in a queer club bathroom full of queens dressed as Diana Ross. There’s also shows I really enjoyed putting together on Sylvester’s "You Make Me Feel (Mighty Real)," George Michael’s “Freedom ’90,” and Bronski Beat’s “Smalltown Boy.”

If you want to learn about the role music played in the civil rights movement, there’s an episode I really enjoyed on Curtis Mayfield and The Impressions’ anthem "People Get Ready."

If you want to step into the late 60s, there’s episodes on Sly and the Family Stone’s "Everyday People," Creedence Clearwater Revival’s "Fortunate Son,” and James Brown’s “Say It Loud (I’m Black and I’m Proud).”

If you want to dive into the revolutionary politics of reggae, there’s a show on Bob Marley and the Wailers’ "Get Up, Stand Up."

If any of those sound like a good time, take a scroll back through the feed, queue up a few of these classics tomorrow, and I’ll be back in your ears in two weeks with a brand-new episode. Thanks for listening, everybody!

In this episode of Music and Revolution, Rolf Straubhaar dives into Stevie Wonder’s 1973 masterpiece, “Living for the City.” This seven-and-a-half-minute centerpiece from Innervisions is a devastating, cinematic compression of the Black experience in 20th-century America.

To orient the discussion, we travel back to the historic backdrop of the Great Migration, exploring how six million Black Americans fled the Jim Crow South only to encounter deindustrialization, redlining, police profiling, and a expanding criminal justice system in Northern cities. Rolf traces Stevie’s evolution from Motown child prodigy covering Bob Dylan protest tunes to a 21-year-old visionary who fought Berry Gordy for complete creative control, unlocking one of the greatest sustained creative runs in pop history.

Rolf breaks down the track’s narrative architecture, from its empathetic family portraits in hard-time Mississippi to its shocking mid-song radio play featuring real street sounds, an abrupt arrest, and a slammed cell door. Finally, we trace the song’s powerful afterlife through covers across genres, including a tribute to rock legend Bonnie Tyler, and end with a live duet between Stevie Wonder and Ray Charles.

In this episode you’ll find:

• The Great Migration: How the promise of Northern factory jobs gave way to redlining, unemployment, and systemic barriers in the 1970s city.
• From "Little Stevie" to Creative Freedom: Wonder’s early political covers of Dylan and labor anthems, culminating in his historic contract fight with Berry Gordy at age 21.
• The Genius of Innervisions: How a near-fatal car accident, a solo multi-instrumental recording style, and a home studio birthed a Grammy-winning classic.
• A Verse-by-Verse Lyrical Breakdown: Analyzing the song's humanizing family portrait, structural critiques of employment discrimination, and its jarring, four-second courtroom sentencing drama.
• Five Decades of Covers: A tour of reinterpretations by Ramsey Lewis, Bonnie Tyler, Ian Gillan, Sylvester, Jonny Lang, Project Soul, and Dirty Loops.

Keywords

• Stevie Wonder
• Living for the City
• Innervisions
• Motown Records
• Berry Gordy
• The Great Migration
• Protest music
• Civil Rights Movement
• Ray Charles
• Bonnie Tyler
• Sylvester
• Systemic racism
• Mass incarceration
• Public humanities
• Music and Revolution

In this episode of Music and Revolution, Rolf Straubhaar dives into Bob Dylan’s timeless 1963 classic, “The Times They Are A-Changin’.” Written by a twenty-two-year-old kid in a Greenwich Village apartment, this wasn't just another 1960s folk song: it was a hypnotic, deliberately constructed “anthem of change” designed to give voice to a nation reaching a political breaking point.

We travel back to the turbulent fall of 1963, exploring how Dylan emerged from the NYC coffeehouse folk scene to find himself performing on the steps of the Lincoln Memorial at the March on Washington. Born out of the emotional fallout of the JFK assassination, “The Times They Are A-Changin’” offered a defiant, stubborn reminder that a better world was still possible.

Rolf breaks down the song’s brilliant structural template, dissecting Dylan’s flood metaphors, biblical imagery, and direct warnings to politicians, journalists, and parents. Finally, we trace the song’s incredible 60-year afterlife, from covers by Nina Simone, Bruce Springsteen, and Tracy Chapman to punk adaptations and late-night TV rewrites, before Rolf shares a personal story of performing the track at an annual university Dylan tribute concert.

In this episode you’ll find:

• Greenwich Village & The Folk Revival: A look at Dylan's early years in New York, his mentorship under Pete Seeger, and his promise to carry on Woody Guthrie's legacy.
• The Protest Peak of 1963: Exploring Dylan’s rapid rise through tracks like "Blowin' in the Wind," "Masters of War," and "Only a Pawn in Their Game".
• A Lyrical Breakdown: A close reading of the song’s five verses, analyzing its flood metaphors, warnings to George Wallace-era politicians, and the biblical inversion of "the last shall be first".
• Six Decades of Covers: A musical tour of how the track was reimagined across genres by Simon & Garfunkel, The Byrds, Nina Simone, Billy Joel, Tracy Chapman, Brandi Carlile, and Jimmy Fallon, among others.
• A Personal Performance: Rolf’s reflection on playing the song at a campus Dylan concert, and why its message of steadying hope still matters today.

Keywords

• Bob Dylan
• The Times They Are A-Changin'
• Protest music
• 1960s history
• Greenwich Village folk scene
• Civil Rights Movement
• Woody Guthrie
• March on Washington
• JFK assassination
• Nina Simone
• Bruce Springsteen
• Tracy Chapman
• Songwriting history
• Public humanities
• Music and Revolution

In this episode of Music and Revolution, Rolf Straubhaar dives into Edwin Starr’s explosive 1970 anti-war masterpiece, “War.” Released only a month after the tragic Kent State shootings, the track became the definitive sonic flashpoint for a nation at war with itself over Vietnam. We travel back to a highly anxious Motown Records, where label boss Berry Gordy deemed the song too politically dangerous to release as a single for his premier act, the Temptations—fearing a career-ending conservative backlash.

We follow the incredible courage of Edwin Starr, a lower-tier Motown artist who stepped up to reclaim the track. Starr demanded to sing it his way, delivering a blistering, legendary vocal performance captured in a single, lightning-in-a-bottle studio take. Rolf breaks down the song's fierce call-and-response architecture and examines Starr's lifelong insistence that "War" was never just about Southeast Asia—it was a direct cry against the systemic domestic violence, racial conflicts, and neighborhood wars raging right inside America's borders. Finally, Rolf shares a nostalgic personal reflection on learning to play the drums to Edwin Starr's irresistible groove in his mother's sewing room, realizing how protest music is often felt in the body before it is ever processed by the mind.

If you’ve ever shouted along to that historic chorus without knowing the high-stakes Motown battle fought to bring it to the airwaves, this episode is for you.

In this episode you’ll find:

• The Powder Keg of 1970: A journey back to the historical boiling point of the Vietnam War, the invasion of Cambodia, and the devastating Kent State massacre that mobilized four million protesting students.
• The Motown Tug-of-War: The fascinating behind-the-scenes conflict between producer Norman Whitfield and Berry Gordy, exploring why the smooth, controlled Temptations version of the track was locked away in the album vaults.
• The Single-Take Masterclass: How Edwin Starr injected raw, Stax-style grit into Motown’s polished pop, unleashing the improvised grunts, wails, and wailing fury that defined the final cut in just one pass.
• A Lyrical Demolition: A close reading of the track’s most political lines, dissecting the transition from "induction" to "destruction" and the psychological reality of returning veterans who were left "disabled, bitter and mean".
• A Multitude of Afterlives: A musical tour through the song's incredibly diverse cover history, tracing how it was utilized by Canadian punks D.O.A., UK new-wavers The Jam during the Falklands War, and Bruce Springsteen on his Born in the U.S.A. tour.
• Extreme Adaptations: How Slovenian industrial icons Laibach used the track to soundtrack the collapse of Yugoslavia, and how hip-hop group Bone Thugs-N-Harmony joined forces with Henry Rollins, Flea, and Tom Morello to reinvent the anthem for the late '90s.
• A Teenager's Drum Kit: Rolf’s personal memory of saving up lawn-mowing money to buy a used drum set, finding his physical and political rhythm by locking into the Funk Brothers' driving percussion.

Keywords

• Edwin Starr
• War
• Norman Whitfield
• Barrett Strong
• Motown Records
• Berry Gordy
• The Temptations
• Vietnam War
• Anti-war protest
• Kent State
• Deindustrialization
• Bruce Springsteen
• The Jam
• Frankie Goes to Hollywood
• Laibach
• Bone Thugs-N-Harmony
• Tom Morello
• Henry Rollins
• Funk Brothers
• Public humanities
• Music and Revolution

In this episode of Music and Revolution, Rolf Straubhaar dives into Florence Reece’s legendary 1931 labor anthem, “Which Side Are You On?” What started in the bloody coalfields of Harlan County, Kentucky, has become one of the most enduring moral litmus tests in music history. We trace the song's origin story in Depression-era coal wars to its journey northward through folklorists and young folk singers like Pete Seeger.

From the Student Nonviolent Coordinating Committee (SNCC) rewriting it in Jim Crow-era Mississippi jail cells, to Dick Gaughan adapting it for the 1984 British miners' strike, to modern iterations addressing climate disasters, anti-war protests, and the political emergencies of 2026—this song remains a living, breathing weapon of solidarity.

In this episode you’ll find:

• The Harlan County War (1931-1939): A look at the company-town architecture of the Kentucky coalfields, where mine owners owned the houses, the stores, and the local deputy sheriffs.
• The Story of the Song: The harrowing night Sheriff J.H. Blair's thugs ransacked Florence Reece's kitchen looking for her husband, ending with her writing these lyrics on the only paper the thugs left in the house--the back of her kitchen calendar.
• The Use of the Song Over the Decades: A musical tour of the song’s genre-spanning history, including Dick Gaughan’s fierce take on Margaret Thatcher's UK, Ani DiFranco's post-Katrina version, and Panopticon's brilliant fusion of black metal and bluegrass.
• The Class Wars of 2026: A close reading of current, urgent 2026 rewrites from artists like Ben Grosscup at a Smith College divestment rally, Dan Dowell's anti-fascist critique of ICE, and Raphael Graves' immigration-oriented take.

Keywords

• Florence Reece
• Which Side Are You On
• Harlan County USA
• Harlan County War
• labor unions
• coal mining history
• United Mine Workers
• National Miners' Union
• Pete Seeger
• SNCC
• Freedom Singers
• Barbara Kopple
• Anne Lewis
• UT Austin
• Dick Gaughan
• British Miners' Strike
• Ani DiFranco
• Panopticon
• Ben Grosscup
• Dan Dowell
• Protest music
• Working-class history
• Music and Revolution

Some protest songs hide their anger behind metaphor. This one forces you to laugh at a show tune, right before it breaks your heart with the truth.

In this episode of Music and Revolution, Rolf Straubhaar breaks down Nina Simone’s ferocious 1964 civil rights masterpiece, “Mississippi Goddam”. What sounds at first like a bouncy, quick-stepping Broadway tune is actually an uncompromised act of artistic retaliation, written in under an hour following the assassination of Medgar Evers and the white supremacist terrorist bombing of four young girls at Birmingham’s 16th Street Baptist Church. We follow Nina’s trajectory from an impoverished classical piano prodigy facing deep institutional racism to a roaring voice of the movement who refused to let America "go slow" on basic human equality.

We trace the song's immediate, controversial fallout—including Southern radio stations literally snapping promotional copies in half—and dissect the brilliant, modular architecture of the track. Rolf explores how Simone intentionally built the song as a living archive designed to hold updated names of systemic injustice over the decades, a legacy carried forward by modern artists like Janelle Monáe and AhSa-Ti Nu. Finally, Rolf shares a personal memory of sitting in an Austin, Texas classroom where this exact song completely reframed how he understood the power of music as historical testimony.

If you’ve ever tapped your foot to that show-tune intro without feeling the raw fury behind the lyrics, this episode is for you.

In this episode you’ll find:

• A harrowing look into the dark reality of 1963 America, from the murder of Medgar Evers to the 16th Street Baptist Church bombing in "Bombingham".
• Nina Simone's origin story as a classical prodigy in the Jim Crow South, her sting of rejection from the Curtis Institute, and her eventual transformation in an Atlantic City nightclub.
• The garage origin story of "Mississippi Goddam," written as the musical equivalent of firing ten bullets back at systemic terrorism.
• A lyrical close reading of the "Go Slow" verse, unpacking how Simone masterfully mocked the paralyzing rhetoric of moderate white leaders and politicians.
• An exploration of the song's structural afterlives, tracing how Nina updated the lyrics live in 1991 and how it laid the groundwork for Janelle Monáe’s "Hell You Talmbout".
• Modern musical reinterpretations and generic transformations of the track spanning the work of Kelsey Waldon, Dee Dee Bridgewater, and AhSa-Ti Nu's "Carolina Goddam".

Keywords

• Nina Simone
• Mississippi Goddam
• Civil Rights Movement
• Medgar Evers
• Birmingham Church Bombing
• 1963 history
• Protest music
• Curtis Institute of Music
• Janelle Monáe
• AhSa-Ti Nu
• Black Lives Matter
• Political songwriting
• Public humanities
• Music and Revolution

When you hear the explosive snare hit and driving synth line of Bruce Springsteen’s 1984 masterpiece “Born in the U.S.A.,” it’s easy to understand why it became a stadium-packing anthem. But underneath the celebratory, red-white-and-blue image constructed by mainstream culture lies a devastatingly bleak critique of American foreign policy and the abandonment of the working class.

In this episode of Music and Revolution, Rolf Straubhaar treats “Born in the U.S.A.” as a vital primary source for understanding the complex reality of post-Vietnam America. We look past the hyper-patriotic misinterpretations, most famously weaponized during Ronald Reagan’s 1984 reelection campaign, to unpack the song's true narrative: a story of a working-class kid shipped off to a foreign war, only to return home to closed factories, systemic economic neglect, and a government that considered his life disposable.

Rolf breaks down the musical tension Springsteen built into the track, contrasting a grim, desperate lyrical narrative with a triumphant, major-key stadium melody. Finally, we examine the song's complex political afterlives, tracing how a deeply critical protest anthem was aggressively co-opted, commercialized, and flattened into uncomplicated patriotism, raising profound questions about cultural memory and how we remember the costs of war.

If you’ve ever pumped your fist to that chorus without knowing the profound tragedy behind it, this episode is for you.

In this episode you’ll find:

• A deep dive into the socio-economic landscape of 1980s working-class America, deindustrialization, and the reality of the Rust Belt.
• The landscape of post-Vietnam veteran experiences, exploring the social isolation, unemployment, and institutional abandonment faced by those returning from the war.
• A close reading of the political weaponization of pop culture, detailing Ronald Reagan's 1984 campaign co-optation of the track and Springsteen’s pushback.
• A lyrical and structural breakdown of "Born in the U.S.A.", analyzing the sharp juxtaposition between its tragic lyrics and its triumphant, major-key stadium production.
• A personal reflection connecting the "small-town trap" narrative to the broader historical reality of class inequality and military enlistment.
• The multi-decade evolution of the song through its various re-recordings, including Springsteen’s haunting acoustic versions and modern roots-rock reinterpretations.

Keywords

• Bruce Springsteen
• Born in the U.S.A.
• Vietnam War veterans
• Reagan Era politics
• 1980s music history
• Deindustrialization
• Rust Belt history
• Political co-optation
• Protest music
• Stadium rock
• American cultural memory
• Working-class history
• Media literacy
• Max Weinberg
• E Street Band
• Music and Revolution

Some songs top the charts. And some songs change the world.

In this final Pride Month episode of Music and Revolution, Rolf Straubhaar dives into Bronski Beat’s groundbreaking 1984 debut masterpiece, "Smalltown Boy." At a time when queer narratives in pop music were largely masked by theatrical camp or hidden behind closed closet doors , three openly gay working-class runaways did something completely revolutionary: they told a literal, autobiographical story of a young gay man fleeing provincial violence for the sanctuary of the big city.

We travel back to the hostile legal and social climate of 1980s Britain, from the discriminatory age of consent laws and Margaret Thatcher’s looming Section 28 legislation, to the moral panic stoked around the emerging AIDS epidemic. Yet, out of this oppressive atmosphere, Bronski Beat infused raw punk defiance into a lean, minimalist electronic dance pulse, creating an unfiltered map for survival that gave thousands of isolated kids their first time ever hearing their own lives validated on the radio.

We break down the track’s masterclass in emotional counterpoint, from its quiet small-town tragedies and the siren call of Jimmy Somerville’s falsetto, to the band’s explicitly political debut album, The Age of Consent, which printed gay crisis hotlines right inside the vinyl sleeve. Finally, we follow the song's incredibly diverse afterlives, exploring how its story of queer exile remains a timeless anthem through radical reinterpretations by Orville Peck, Dido, José González, and beyond.

If you’ve ever danced to that pulsing arpeggio without knowing the profound political courage behind it, this episode is for you.

In this episode you’ll find:

• A deep dive into the hostile 1980s British cultural climate, Section 28, and state-sanctioned institutional shame.
• The landscape of 80s queer pop, exploring the visual subversions of Frankie Goes to Hollywood, Culture Club, and Divine alongside the coded realities of the closet.
• The radical origins of Bronski Beat, emerging from London’s leftist political spaces and a synth-pop style built out of a Sex Pistols chord progression.
• A lyrical close reading of "Smalltown Boy," analyzing its emotional armor, its depiction of family misunderstanding, and the falsetto as a channel for survival.
• The legacy of The Age of Consent album as a physical protest tool that weaponized gatefold liner notes to connect isolated youth to chosen families.
• A personal radio station reflection on how small-town migration stories are, in hindsight, frequently queer stories of survival.
• The multi-decade evolution of the song through Jimmy Somerville's modern reflections and generic boundary-pushing covers spanning country, metal, and indie-folk.

Keywords

• Bronski Beat
• Smalltown Boy
• Jimmy Somerville
• Synth-pop history
• 1980s Britain
• Section 28
• Margaret Thatcher
• Age of Consent
• Queer exile
• Frankie Goes to Hollywood
• Divine
• Dusty Springfield
• Orville Peck
• Queer survival
• Pride Month
• Music and Revolution

Some protest songs change the world with slogans. This one does it by teaching you how to live inside your own body.

In this Pride‑month episode of Music and Revolution, Rolf Straubhaar dives into Sylvester’s 1978 disco classic “You Make Me Feel (Mighty Real)”—a song that sounds like pure dance‑floor bliss but works underneath as a theology of queer embodiment. We follow Sylvester from a strict Pentecostal childhood in Watts, through San Francisco’s psychedelic drag troupe the Cockettes, to the queer, Black, and Latinx club scene that turned his falsetto into a kind of gospel for the disco floor.

From early underground spaces like the Loft and Paradise Garage to the mainstream “Disco Sucks” backlash, this episode traces how disco became both refuge and target—and how “Mighty Real” emerged as an anthem for people whose bodies and desires were treated as problems everywhere else. Rolf breaks down the song’s church‑service structure, its mantra‑like “I feel real” refrains, and the way Sylvester, Two Tons O’ Fun, and producer Patrick Cowley built a sound that points directly toward Hi‑NRG, house, and modern club music.

We end by following the song’s afterlives—from Jimmy Somerville and Byron Stingily to Adam Lambert & Sigala’s Pride in London version—and by revisiting a roller‑rink memory where “Mighty Real” was just great skating music, long before its history of queer liberation came into focus. If you’ve ever shouted along to that chorus without knowing who Sylvester was, this episode is for you.

In this episode you’ll find:

• A sensorial tour of 1970s underground discos as queer, Black, and Latinx refuges in the wake of Stonewall.
• Sylvester’s journey from Pentecostal prodigy in Watts to San Francisco drag theatre with the Cockettes.
• How Sylvester, Two Tons O’ Fun, and the Hot Band fused gospel vocals with four‑on‑the‑floor disco on Step II.
• A close reading of “You Make Me Feel (Mighty Real)”—its verses, the “I feel real” mantra, and its church‑like build.
• Discussion of disco’s mainstream peak and the racist, homophobic “Disco Sucks” backlash and Disco Demolition Night.
• A personal roller‑skating‑rink story that reframes the song from background fun to queer lifeline.
• The song’s legacy through covers by Jimmy Somerville, Byron Stingily, Adam Lambert & Sigala, and more.
• A look at how “Mighty Real” connects disco to later Hi‑NRG, house, and contemporary Pride anthems.

Keywords

• Sylvester
• You Make Me Feel (Mighty Real)
• Disco history
• Queer nightlife
• Black and Latinx club culture
• Cockettes
• Two Tons O’ Fun
• Weather Girls
• Patrick Cowley
• Paradise Garage
• Loft / Gallery
• Disco Sucks
• Disco Demolition Night
• Hi‑NRG
• House music
• Queer embodiment
• Pride Month
• Music and Revolution