All pretty boredom inducing isn't it. Finally a critical theorist for the bourgeois subjects of dance music. What's the point?
I know I'll get shot down for this but opposing the heteronormative family to the family you choose is equally as insipid and fails to understand the necessity of family within class societies. You want to abolish the family? learn to handle a firearm, not give lectures at artforum.
But even then, self-professed movements which claim to subert the patriarchy end up being pretty culty and, well, patriarchal. The PKK/YPG is a good example of this. If family abolition occurs it will occur through demographic and the violent clashes of impersonal forces with each other, not through a manifesto or 10.
'Heteronormativity' is also a concept that has been heavily coded by the relatively affluent queers of the West. Of course it exists in other cultures as a necessary outgrowth of private property but the framings differ.
Are queers inherently revolutionary? I don't think so. Neither are us disabled people. I don't think one can pick a group at random and schematise a revolutionary consciousness to them. Even the working class is not immediately revolutionary in terms of consciousness (quite the contrary.) There is nothing to say that the oppressed can't also oppress others themselves, which is even more reason to dispense with this American sub-maoist tripe. If anything, the majority of actively politicised queer consciousness is totally reformist and at least in the west, latently unaware of how deep the politics of their nation state actors are implicated in imperialism. Same goes for disability politics, which is why I decided to take a step back. An inability to connect struggles internationally is the terminal noose that choaks the activists neck.
If Sprinkles is in dialogue with this stuff then it seems odd that she doesn't reference bale funk, gqom, batita, etc, but retreats to the whitest of white of dance music establishments, RA/FACT orientated deep house nostalgia. Yes, she might have been playing to multiracial crowds in Miami in 1991-1992, but just because house sold out, didn't mean that Black and brown people stopped making dance music. And again its her prerogative to operate in that magazine house zone, but why the need for this overintellectualising, as if everyone else in dance music is uncritical.
EDIT: I'm well aware that there are more multiracial/working class deep house scenes but they sure as hell aren't in the orbit of people who read these mags.