1. Themes
1.1. How does this relate to myself?
1.1.1. Outlet for the Masculine half of my identity as its hard for me to display socially
1.1.2. Flexing an emotional resonance to also accept my femininity
1.2. Masculine sense of dominance in wealth and success
1.3. Feminine Liberation that is masculine leaning
1.4. General Focus on representation on fringe mostly massly under perceived individual identities (Chronicalling Stankonia and OutKast and their representation of the Black Southern experience for example)
1.5. Developing a personal style
1.6. Refusal to be labeled as negative from the broader populus, flexing as a reclemation of one's power
1.6.1. commodification/comercialization
1.6.2. Rebellion agaiisnt the broadley white label of being unintelligent or unimaginitive
1.6.2.1. Innovation neccesary
1.6.3. "Flexing" as reclemation
1.7. Personal Liberation
2. Authenticity
2.1. personally relevant to me
2.2. easy at first glance
2.3. in dialogue with what came before it
2.4. provides representation to those like yourself
3. Persona
3.1. Must be authentic to be true to the genre
3.2. Can become overly comercialized, must be to a certain extent
4. Can be
5. Beats
5.1. Typically 4/2 or 4/4
5.2. Created In a daw or drum machine
5.2.1. Daws Include
5.2.1.1. Fl studio
5.2.1.2. Ableton
5.2.1.3. Logic
5.2.1.4. Garageband
5.2.1.5. Bandlab
5.3. Exist In dialogue with what came before it
5.4. Trap exists as a late stage evolution of rap and hip-hop
5.4.1. considered a subgenre
5.4.2. is common in youth culture
5.4.3. Represents modern experience, especially that of Gen-z
5.4.3.1. Somewhat cacophonic in nature
6. Against
7. Lyrics
7.1. In the past held greater significance. Still historically important. Lyrics exist now within Trap as a means of creating a sense of the rappers personality and generally likes or dislikes. In modernity, and within the underground.
7.1.1. OutKast or Nas although widly different both fall categorically under the historical importance of storytelling, although the "metaphorical implications"n referenced in the first child are also present "between the lines" of both of these artists lyrics.
7.2. Can be a delivery for a story, but the literal nature of that story is less important. The metaphorical implications of what exists between the lines is the draw for most modern underground trap lisiteners.
8. Vocals
8.1. Mixing of the Vocals
8.1.1. Although not touched on within the class yet this is deeply important to the implications of what the artist is attempting to acheive
8.1.1.1. Trap, specifically that of the underground tends to use a large amount of autotune.
8.1.1.2. Delay almost always present on a rap artists vocals
8.1.1.3. Compression for the sake of clarity
8.1.1.4. Artists like Earl Sweatshirt (modernity) or most artists pre the 2000's boost of comercalization (NWA, Snoop Dog, Etc..) Tend to mix vocals with understated effects. All for different emotional affects.
8.1.1.5. Artists like Osamason, Death Grips, or Bby Goyard tend to use a large amount of effects, all for different emotional affects.
8.1.1.6. Reverb
8.1.1.6.1. Almost omniipresent
8.1.1.6.2. In low amounts is there just to add space to a vocal
8.1.1.6.3. In large amounts is there if an artist is attempting to go more introspective or spiritual à la an artist such as izaya tiji.
8.1.2. Emotional Affect is not dependent wholly on the mixing of the vocals
8.1.3. Reflects an artists particular sensibilities regarding pretty much anything depending on the individual artist
8.2. Vocal Performances
8.2.1. Differ based on the artists personal experience and preferred way of presenting themselves. Can be in relation to a persona presented. Can also be used to singify emotional depth or lack therof.