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Let’s take a break from the hooblah of T.I.’s divorce and split with long time spouse and mother of his offspring. Remember the drill music scene that resurrected Chicago rap culture and ushered in a trap music renaissance? A big red dog named Clifford Harris sounded off in regards concerning the rap sub-genre that his second studio album Trap Muzik has popularized and fathered. Self-proclaiming and putting a down payment on a quote that conversations from living rooms via parlors all the way to chairs in neighborhood barbershops. Echoing a decently accepted theory that he himself created trap music. One who don’t indulge in their resources whom goes with the song with the best melody may sing the same exact thing.
Paraphrasing the fact that organized noize and crunk music were both, the hottest thing on the block since sliced bread, before the infamous and historical sub-genre of hip-hop. Atlanta being famous for a lot of things, music production and musical talent being some of the most notably mortified. With a ring of honor of musical acts and respectable idols, that I wouldn’t dare to get into because that topic is a book series in it’s own right.
For one to insightfully entice the ideal of trap music one must understand the ancestry of the sound and images that come included. Way before drill and trap music there was a unwritten, but coherently aware underground sub-genre called drug rap. As unofficial it was verbatim, it was still noteworthy and notable enough to mention. With that being said, nothing is new under the sun. Rappers been sharing tales of moving work around crack fires since at least the late 1980s. Most significantly the same year rap leveled up on a lyrical decibel, 1988, hence the famous howls “Still spending money from 88” and “Top back like I’m bringing 88 back”.
Trap music being conceived in the piloted hip-hop region, which I was raised in, the dirty south. Cities like Memphis, Atlanta, New Orleans, Houston, Dallas, St. Louis, and Miami acting as something in the same precise category as kingdoms. Just a notch down from empire. They have all honed trap music in some way, shape, or characteristic. The region being associated and almost represented by speaker knocking production with the lyrical recognition being as almost obsolete as NATO. Same can be said about the cadence and flow credibility as well tragically speaking. The signature and trademark sound of trap music consisting of heavy drum use, stacked synthesizers, and “Michael Bay movie” like strings sewed into the beat; with DJ Screw having a mighty great deal of influence to. Lyrics most likely being about or closely related to “trapping”.
