No Role Modelz: An Analysis and Defense of Trap Music
“I only listen to real hip hop, All that stuff on the radio is about money, bitches, and drugs. Whatever happened to meaning in rap?”
Criticisms like the one above are extremely prevalent among certain hip hop circles. They’ve been around since hip hop nostalgia became a thing. First, they came for NWA, then they came for Snoop Dogg, then they came for Eminem, then they came for Soulja Boy, then they came for Young Thug, and it will continue until hip hop has breathed its last breath.
The main target for a backpacker’s hatred is often someone who is taking hip hop and doing it in ways that are not considered traditional. All of the artists I listed above have one thing in common: they did shit different. NWA brought raw street raps to the mainstream, Snoop had a unique voice and made party records in a way that hadn’t been seen before, Eminem was white and talked about murdering his wife, Soulja Boy pretty much invented internet rap and is a main contributor to what we call trap music today, and Young Thug is taking hip hop’s oft-criticized image of hyper masculinity and smashing it into pieces.
After several years of southern hip hop artists pushing boundaries and innovating, what we are left with is modern trap music. Characterized by its 808 bass, crisp snares, metallic, skittering hi-hats, and atmospheric, synth driven melodies, trap music has been lauded, appropriated, and even demonized by everyone from Norm Kelly to Kid Cudi.
The biggest complaint that people typically have with trap music is that “it’s a bad influence, and it promotes a negative lifestyle.” To me, this argument is ridiculous. To claim that trap music is causing violence among young black kids is to deny the staggering systemic racism and socio-economic constructs that affect the black community. Trap music is a symptom, not a cause. Trap music causes gang violence no more than Marilyn Manson causes school shootings. Yet, it is still met with criticisms of promoting violence, drugs, and misogyny.
Trap artists are also criticized for being bad role models. As far as that goes, look no further than Atlanta, Georgia. Often cited as the birthplace, and home of trap music, Atlanta has birthed trap legends such as Gucci Mane, Young Jeezy, TI, and underground prince Alley Boy. These rappers came from virtually nothing, only to become masters of their craft, and tastemakers in the Atlanta hip hop scene. Nearly every rap artist out of Atlanta has been cosigned by Gucci Mane – often considered the “Mayor of Atlanta” – in at least some way, shape or form. He started his own record label, 1017 Brick Squad, as well as helped spawn Waka Flocka Flame’s imprint, Brick Squad Monopoly. Brick Squad and Brick Squad Monopoly boast a combined total of 41 artists, many of whom have achieved immense mainstream and underground success. Among these are Chief Keef, Joey Fatts, Young Thug, Young Scooter, Lex Luger, Zaytoven, and 808 Mafia.
“But trap music doesn’t have any meaning! It’s all about money and drugs!” Well, take a look at Future. Future came from Atlanta under the wing of Gucci Mane. He released several mixtapes before achieving mainstream success with his 2012 album “Pluto.” Since then, he has collaborated with artists like Drake, Lil Wayne, Young Thug, Travis Scott, Mac Miller, and 2 Chainz. His music features the booming beats that are typical to the trap sound, but his lyrics tell another story. Future’s auto-tune soaked voice speaks of addiction, fame, and the struggles of growing up in inner city Atlanta. The song “Codeine Crazy” is a perfect example of this. On this song, Future provides a disturbing and haunting look into the life of an addict. Lyrics like “I’m and addict and I can’t even hide it,” as well as “Take all my problems and drink out the bottle and fuck on a model” show that Future is disillusioned with his fame and wealth.
But all that aside, who cares if trap music has “real” meaning? Sometimes listening to fun songs is the perfect way to pull yourself out of a struggle. Not everyone wants to listen to “Dance with the Devil” or “Cleaning Out My Closet” every time they get upset. Don’t get me wrong, those are great songs, but it’s not for everybody.
“Okay, but trap music doesn’t take any talent. Anyone can make a song like that!” First of all, this is not true. Are you telling me it doesn’t take any semblance of talent to craft a song like Travis Scott’s “Oh My Dis Side” or Young Thug’s “Numbers.” These songs have excellent melodies with beautiful, lush production that provides a perfect atmosphere for hanging out in your bedroom, or a chill night out with friends. Most trap artists put tons of work into their craft, and they often give it all away for free.
Second of all, even if the idea that trap music doesn’t take any talent were true, would it even really matter? Why does every song need to be crafted over a period of 6 months through blood, sweat, and tears in order for you to enjoy it? Why can’t someone just make a quick fun song?
If trap music just isn’t your thing, I totally get it. Not everyone will like the same things, and that’s fine. But most criticisms of trap music are completely baseless and come from a place of close-mindedness. Trap music is not just a bullshit genre that the “ignorant masses” eat up. Trap artists are not corporate creations. Trap artists are real, and they make music for the sole purpose of entertaining and bringing joy to others. Well, money too, but you get what I’m saying.
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