Zydowicz 1

Marcavius Zydowicz

WR121, Rigamonti

Thought Essay

11 Apr, 2014

Trap Music: Soundtrack to the life

Cant you see we livin in a warzone? The opening line for T.I.s track asks a question

to the American public that has been echoed for years, and it does something else equally as

important. It sets the stage. Decisions made in a warzone, for the most part probably would

consider for the complexities involved with finding oneself in a warzone. In a stable region,

resources would likely be more accessible, and people would likely be more reasonably sociable.

To expand, I focus on class warfare. In canon, classes are separated by financial wealth,

race, and geographical location. Other factors like gender and sexual orientation determine social

classes, but these are the most universal. We can look around us and see examples of this. This is

especially sinister since its hidden, for the most part, until it serves to detract from the oppressed

and privilege the dominant.

One of the most diabolical ways class warfare is executed is through the justice system.

The Central Intelligence Agency famously supports cocaine industries and ensure their product

makes it into poor neighborhoods, and the justice system consequently finds it in the hands of the

income disparaged, alleviating social responsibility from any government actors. This brings

profit to prison industries around the United States.

Lets pretend someone exists in this warzone. They find theyre in a class that doesnt

allow them to have the opportunities they desire. They know someone that can get a half of a

kilogram of cocaine at a really cheap price, and all around them are people that regularly enjoy
 Zydowicz 2

it. All this person would have to do is bag it up and stand on their corner with a white T shirt on.

They have relatively little chance of being caught, since theyre in an area that doesnt see a lot

of police activity, and they tend to not accost anyone. As the trope goes, it sells itself. If this

person made enough money, they could buy themselves out of the social class theyre in. In some

instances, people are selling crack to pay off court costs.

If this person made it, and managed to get creative and start rapping, they might want to

talk about the life theyd just lived. Theyd especially want to talk about it because there is so

much missed context amongst the canon. Some might feel obligated, since it essentially brought

them to where they are and was such a prolific force in their actualization. If a person can rap

about that life in a two minute song, and someone that has never lived that life can understand it,

thats way more than acceptable. Its important.

Warzone is considered conscious rap because it talks about injustice by police against

people of color. T.I. doesnt fault anyone but the police and the world for ignoring the problem,

and he clearly elucidates the feeling that comes from that tyranny, and subsequent inaction.

However, I consider it also trap music, since it outlines the playing field in a hardcore way

without withholding names or missing a chance to illicit emotion. I like to think of trap music

like work songs, in this way. Finding oneself in hardship and making art out of it. Trap definitely

incorporates the four elements of hip hop, and anyone to say otherwise is being illogical.

Accounting for the aforementioned parameters, when I hear someone say they dont like

trap music because it, for instance, objectifies women, Im understanding. I get that theyd

obviously never thought that some women could be empowered by what they were saying,

because theyve never lived that life or understood it in any way. I dont get mad when someone

tells me they dont want to promote violence, so they dont want me to play Gucci on their
 Zydowicz 3

system. I just wait for my opportunity to share what I know with them, to afford them the chance

to get it. Funny enough, some of these people hate on drill music, the hard, cadence driven

Chicago style trap, but they love trap-step, a less lyrical cousin found in a lot of trendy electronic

dance music clubs. I think this is an excellent example of what in commonly known as cultural

appropriation.

I listen to trap music and produce drill beats using Ableton Live as my studio. I havent

worked with any rappers on a track that Ive released, yet, but I plan to. For now, Im going to

continue to hone my craft and my aesthetic, to get to a point where I can DJ a solid two hours of

content Ive made, so I can back up rappers on stage. Im proud of a couple tracks Ive made.

Im heavy into the refinement stage.

I grew up in Alabama on I-20 in Anniston, two hours from Atlanta, and from

Birmingham. A lot of underground work and music happened where I lived and grew up, so I

naturally became involved. I used what I learned in the Army, and vice versa to come up. I

bought my way out with a mix of reportable work and other jobs. I moved to Portland with

someone I was dating, and swore away the life. I didnt ever tell her about it, and went

completely legitimate. Though Im eternally grateful to the people that helped me get mine and

come up way back when, I decided to travel for a while and eventually ended up in a position to

go to school.

I dont think Ill ever come to curse the name of the music and life that helped me not

suffer in poverty, around little to no resources. This music has not been around as long as the

life, and the life, statistically, has become less violent and more profitable since the 00s and 90s,

so I cant fault T.I. for turning around and saying he needs a war with Young Thug on a track. Of

course, he does. Context is everything.