Editing Brit funk (section)

=== Continuities between Brit funk and disco ===
Gaining inspiration from various musical genres, Brit funk continued and built off of technological and symbolic themes present in U.S. [[disco]]. Author Robert Strachan described that Brit funk became recognised for its "use of electronic production, drum machines, electronic bass and the stripped down aesthetic of electro presented a slick, ultra-modern musical aesthetic combined with visual codes accessed from American disco acts."<ref name=":0" /> Furthermore, Brit funk seemed to follow in disco's footsteps in regard to expression of gender and sexuality. Writers including Tim Lawrence, [[Bill Brewster (DJ)|Bill Brewster]] and Frank Broughton discussed how disco ushered in a unique moment in which gender and sexuality queerness gained "recognition" in mainstream music.<ref name="Lawrence 2011 230–243">{{Cite journal|last=Lawrence|first=Tim|title=Disco and the Queering of the Dance Floor|date=2011|journal=Cultural Studies|volume=25|issue=2|pages=230–243|doi=10.1080/09502386.2011.535989|s2cid=143682409|issn=0950-2386}}</ref><ref>{{Cite book|last=Brewster, Bill|first=Broughton, Frank|title=Last Night a DJ Saved My Life: The History of the Disc Jockey|publisher=Grove Press|year=1999}}</ref> The disco genre fostered a culture that highlighted and celebrated a sense of fluidity and "multipleness"<ref name="Lawrence 2011 230–243"/> that was revolutionary in its day. Like disco, Brit funk also represented a unique moment of fluidity in gender expression and sexuality.<ref name=":1" /> Britfunk was emerging in a time in the UK in which gender-play was entering the mainstream pop scene from strains of UK club scenes and formed around unique identity politics.<ref>{{Cite book|last1=Stratton|first1=Jon|title=Black Popular Music in Britain Since 1945|last2=Zuberi|first2=Nabeel|date=2016-04-15|publisher=Routledge|isbn=978-1-315-56948-2|pages=81|doi=10.4324/9781315569482}}</ref> Such politics were highly entangled with pleasure on the dance floor which was the essence of U.S. disco as well. Such pleasure in both Brit funk (and disco) was ambiguous, "in terms of gender and sexuality ..."<ref name=":0" /> Strachan said that many Brit funk artists "were clearly drawing upon outré and undoubtedly gay styles that had emerged in the club scenes",<ref name=":0" /> and the aesthetics of Brit funk can now "... be read as escaping fixed notions of identity."<ref>{{Cite book|last=Robert|first=Strachan|title=Britfunk: Black British Popular Music, Identity and the Recording Industry in the Early 1980s|publisher=Ashgate Publishing|year=2014|pages=83}}</ref>