Sorry Not Sorry: Trap Music Is Not Part Of Hip-Hop Culture

ARTICLE TAMAL OF “CARRYING THE CULTURE”

Sorry Not Sorry: Trap Music Is Not Part Of Hip-Hop Culture

In recent years, the lack of unity in hip-hop has become a constant topic of discussion. The core elements of hip- hop tend to function in their own individual lanes and even within the rap genre there is much division. Older heads like myself are often labeled as narrow-minded and divisive when we analyze a lot of today's “hip-hop.” At the heart of it all is the trap music genre, which has become wildly popular with mainstream America and the rest of the world. Many times, when I criticize trap music, I am often told that we should be more inclusive and accepting and that criticizing these artists s only splinters the culture. I certainly feel that hip-hop could use more unity, but as I have mentioned publicly, before unity can occur, we must first agree on what hip-hop is and what it is not. When examining trap music, therein lies the fundamental issue—it doesn't align with authentic hip-hop culture.

Scholars widely agree that some of the main components of a culture are shared values and beliefs, social norms and customs, and ways of expression. When looking at trap music from a distance, it's easy to see how one could say it's a part of hip-hop. After all, trap does originate from hip-hop and there are certainly some similarities with language and fashion. But that's where the comparisons stop and when looking at trap's fit into hip-hop culture, the match clearly doesn't fit.

Song content is a key area that shows the clear distinction between trap and authentic hip-hop. An article from Complex Magazine explains it has “lyrical content that often focuses on drug use and urban violence”. The orgin of the genre name alone is disturbing, as the label “trap” refers to a drug stash house. Unfortunately, these low frequency vibrations are a staple of most trap music. It can be argued that gangsta rap has been one of the worst things to ever happen to hip hop culture, due to the heavy emphasis on sex, selling drugs, and violence. But the glaring difference is that this type of rap isn't the only option available. The majority of rappers DO NOT make this content and there are still many artists who cover a number of subjects. And while there are a small number of conscious trap rappers, unfortunately, the average trap song is either about violence, graphic sex, or drug abuse with little room for much else.

Originality is a key component of hip hop culture and and is probably the most critical aspect of one's hip-hop identity. Having one's own style is essential in all of the elements and is a key aspect that sets us apart from other genres. But when looking at trap music, originality is not only noticeably absent, it's actually discouraged— starting with the stage names. It seems like every other trap artists' name begins with “Lil” as if that's the only option to choose from. This boring trend has become a running joke in hip-hop discussions everywhere. It's as if these artists are made in a Build-a-Rapper factory, with most of these “artists” rocking oddly similar fashion, hair, rainbow colored fronts, and face tattoos. It's common knowledge that the blueprint for success in this genre is to simply copy the exact style of someone who has already seen commercial success. Amongst hip-hop heads, this practice is unforgivable and is one that is widely frowned upon.

An emphasis on lyricism is another glaring issue that separates the trap rappers from emcees. For the emcee, the pen is the sword, the instrument that helps him or her tell a story, share joy and pain, or even start a revolution. There are a number of ways to express these sentiments, but sharing in a unique or clever way that is sonically pleasing is essential and it is the essence of a hip-hop track. For most trap artists, lyricism is practically an afterthought and is often discouraged. Disgraced mumble rapper Tekashi 6x9 is quoted as saying, “We just say anything I don't put no effort into that shit and it's a hit”. Other trap rappers have echoed similar feelings indicated the craft is a complete joke to them and the primary goal is to “get the bag”. I've heard diehard fans of the trap genre say, “Everything doesn't have to be lyrical. This ain't the 90's.” Along the same lines, a lot of trap rappers don't even write their own lyrics. A true emcee would never remotely consider the idea of having a ghost writer—even if improvements needed to be made. Although it certainly happens in the hip-hop arena, it's always been frowned upon as writing your own rhymes is one of the minimum requirements to be an emcee. How can trap music be a part of hip-hop when one of its most important foundational building blocks is completely disregarded?

In 2024, a statement like “trap music isn't hip-hop” certainly puts a target on one's back. It either comes off as elitist or whining from a grumpy “old head”. But my opinion has nothing to do with whether or not I like the music nor is it an attack on the young generation. It's based on key values (which were taught to me) that are important in rap and hip-hop culture in general. My issue isn't with trap in and of itself. There are other genres that I don't care for but they aren't watering down hip-hop's core values. There is a wide range on the creative spectrum for artists but I was taught that these values are a major foundation of our culture. They are what makes hip-hop music what it is and the artists I grew up listening to stuck to these principles. But these values are not only glaringly absent in trap music, they are often looked down upon. It is because of this absence that I say it doesn't belong. Trap may originate from hip-hop but its standards couldn't be more different. Like country, techno, punk, and other styles, trap music is its own genre, has its own values and therefore stands alone and has no seat at the hip-hop table.