TRAP IS THE ONLY MUSIC that sounds like what living in contemporary America feels like. It is the soundtrack of the dissocialized subject that neoliberalism made. It is the funeral music that the Reagan revolution deserves.
This new thing is not a genre, exactly; call it a style, a sensibility, a veneer. It has to do with computers and digital sound and digital imagery. It has to do with representation and malleability, the idea that sound and image can be stretched and twisted and copied ad nauseam. It revels in digital gloss and grit, in bent tones, in smeared and frozen reverb tails. Extreme compression, schizoid pith: rap vocals broken down to monosyllables, a single “Huh” as metonym for everything that’s happened between the Sugarhill Gang and now. History reduced to a USB stick.
The structural similarity between much advertising and much modern art is not simply copying by the advertisers. It is the result of comparable responses to the contemporary human condition, and the only distinction that matters is between the clarification achieved by some art and the displacement normal in bad art and most advertising. The skilled magicians, the masters of the masses, must be seen as ultimately involved in the general weakness which they not only exploit but are exploited by. If the meanings and values generally operative in the society give no answers to, no means of negotiating, problems of death, loneliness, frustration, the need for identity and respect, then the magical system must come, mixing its charms and expedients with reality in easily available forms, and binding the weakness to the condition which has created it. Advertising is then no longer merely a way of selling goods, it is a true part of the culture of a confused society.
The arts of writing and the arts of creation and performance, over their whole range, are parts of the cultural process in all the different ways, the different sectors, that I have been seeking to describe. They contribute to the effective dominant culture and are a central articulation of it. They embody residual meanings and values, not all of which are incorporated, though many are. They express also and significantly some emergent practices and meanings, yet some of these may eventually be incorporated, as they reach people and begin to move them.
A relation of content may be mere reflection, but a relation of structure, often occurring where there is no apparent relation of content, can show us the organizing principle by which a particular view of the world, and from that the coherence of the social group which maintains it, really operates in consciousness.
Whatever might ‘cause’ an emotion – and the roots of the causes of emotion are a source of debate – once it gets going, it isn’t just a thought process. Emotion is meaty and full of pumping hormones and breath pattern alterations and gestures and rushes of fluid. Chemicals get released. Chemicals get washed away. Heart rates speed up and slow down. Our breath rises and falls and its patterns change. Digestion patterns speed up or slow down or get interrupted. What happens in the body affects the body. What happens in the body affects the voice.