When he Sonar 2017 edition dedicated space (covered at the moment) to interpreters such as Bad Gyal or Yung Beef it was already premonitory; when the following year, the Primavera Sound He highlighted the presence in his Amazonian cartel –with a press conference included– of C. TanganaYung Beef and Bad Gyal, that no longer seemed like a whim for modern updates, and when only a few months ago again the Sónar dedicated his schedule and his stage prime time at the premiere of the new stage and musical production of Bad Gyal, there was no doubt that the trap It had become a quoted and profitable piece of the music market in all its breadth.
The dimension of the trap phenomenon goes beyond the limits of the strictly musical, and excellent proof of this is the recent publication of The trap 'Millennial' philosophy for the crisis in Spain
, a neat, original and brilliant approach to the issue signed by the philosopher and essayist Ernesto Castro (Errata Naturae). The author is especially well known because he has a channel in Youtube where he usually shares talks and interviews with a large following, where controversy and scholarship usually cohabit.
A whole genre
"The trap touches many sensitive nerves and that is why it is a productive category," he says.
And it is that the trap besides being one of the fashion music is a phenomenon of relatively recent generation. For the generalist fan the year 2012 could be a referential fact that is when PXXR GVNG is founded in Barcelona (with the participation of Yung Beef, currently in the Los Santos formation), and when another key name of the scene as Cecilio G. ( Juan C. Ruiz, in civil life) begins to attract attention on YouTube with some of his videos. Next to them, C. Tangana, in Agorazein, already gave the tone, although voices like Ms Nina's had not yet published any subject.
Castro explains with a similar tone with which he has written his dense but very interesting essay, when he explains that "in this book, beyond the phenomenon of the trap, I have tried to make an x-ray of my time and my generation." And he has done it in three scenarios, starting with the musical: "I think that the essence of the trap as music is closely linked to the depressive grounds of these times"; in the philosophical, when the more than 400 pages of the volume “a lot of questions arise that affect an entire generation from a philosophical perspective”, and also from the sociological one “with a special importance of unemployment that motivates the younger generations to look at some interpreters that offer a hedonistic view of everyday life ”and away from everyday reality. “The trap is a music that has a strong generational component, and since pop music has always mobilized young people, I found it interesting to approach the imaginary millennial from a musical perspective tracking the ideologies and tropes that are in this seemingly so philosophical genre, ”he synthesizes.
Castro acknowledges that he did not start listening to Spanish trap until the summer of 2015. “It is very difficult to say when one started listening to trap. The category itself is very disputed. The orthodox definition says that it is the music of the traphouses from Atlanta, in the southern United States, where he was trafficked with drugs. The experts themselves do not know where the trap ends and where the gangstarap begins, and I say that gangstarap talks about the drug from the perspective of the trafficker while the trap does it from that of the consumer, and that gangstarap is associated with psychoactive drugs of economic growth such as the nineties and two thousand, while the trap is psychodepressant drugs of an era, worth the redundancy, depression not only economic but also psychological, and that made it a much more emotional genre , much darker, much more depressing. ”
One of the origins of the book was the title ‘The rap of the ninis’, appeared in ‘La Vanguardia’
The controversy has also been a constant that has surrounded the genre, as well as its image, that rogue side, its cited origins. All this has resulted in a word that within the sector itself is ignored in some sectors and replaced by that of urban music . “The word trap is partially silenced in the music sector, it's true. The term urban music It is not a neologism but it is something that arises in the sixties, and what I argue is that it is a whitening of black music from soul, jazz and r’n’b by an announcer of the time. Initially we want to leave the trap category because it is said to be a cultural appropriation of culture, of the music of camels and drug dealers. And as in Spain there are many artists who are not talking about these issues, they prefer as good children who are getting into the mainstream and use euphemisms as urban music and even pop. In some interviews granted by C. Tangana in 2017 he came to say that his main musical influence was Michael Jackson. And the highlight was a text that came out in the supplement Cultures from The vanguard whose headline defined the trap as the ninis rap , and it was from this pejorative reference that many rags who did not want to be identified with economic and social depression moved away from the category. What I claimed in my book is the term nini in a positive sense, that is to say, the one who is not working or studying is leading a life surely better than the rest of the slaves of the capitalist system, ”Castro recalls with irony and good memory.
The Paul Celan of the trap
"The most interesting is Pedro LaDroga, whom I call the Paul Celan of the trap," says the author
Unlike other scholars, Ortega considers the trap to be a musical genre from head to toe. “Like any genre worth its salt, it is defined by what it denies. And as the trap has touched many sensitive nerves, that is why it is a productive category, as in the past were impressionism, surrealism or situationism, that is, terms that were originally seen as insults but were later reappropriated by the artists in question. " And in the case of Spain, with a clear entity of its own. "Of course. The trap is defined by its dialectic with virtuous rap, which was an urban style made by and for men and that claimed the virtuous in a lyrical, ethical-moral and also etymological sense. When the trap appears, everything changes, at the outset because the trap does not demand any kind of ethicopolitical virtuosity, although with the Catalan theme many rags have sided with the protesters and against police repression, nor lyrical virtuosity, because the lyrics pass to the background for the benefit of the melody. And neither macho virtuosity, because the trap is a gender also reappropriated by women and that proposes an alternative conception of their sexuality. ”
And value some of the figures in the scene. “The virtue of C. Tangana is its lyrical component, and its negative fact is its marked egocentrism and not having collaborated with many artists; Dellafuente's virtue is his use of merchandising and his vice is overproduction. Don Patricio is for me the classianization of the trap, which means the death of the trap because it is a flat character. For me the most interesting is Pedro LaDroga, whom I call the Paul Celan of the trap ”.