Atlanta Trap and the Current Directions of Afrofuturism
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Atlanta is the cultural hub of the hip hop industry and home to some of the latest and most exciting examples of contemporary Afrofuturism. As the city's primary musical export, trap generally reads as apolitical; however, modern deployments of Afrofuturism's operational concepts by artists and producers in the genre illuminate a nuanced politics that is a sign of the times. A commercialized sub-genre of gangsta rap, trap is often overlooked as a source of valid social commentary and political critique, as a gap in hip hop and Afrofuturist scholarship would suggest. Building on previous research, this paper will establish a theoretical framework to interpret the sights, sounds, and narratives of trap music to examine how they speak to issues of race, technology, and representation. Future, Migos, and Young Thug are a few of the latest artists in a lineage of iconic figures to embrace the paradigm-shifting potential of Afrofuturism.
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Copyright © 2019 the author(s). Theses may be used for non-commercial research, educational, or related academic purposes only. Such uses include personal study, research, scholarship, and teaching. Theses may only be shared by linking to Carleton University Institutional Repository and no part may be used without proper attribution to the author. No part may be used for commercial purposes directly or indirectly via a for-profit platform; no adaptation or derivative works are permitted without consent from the copyright owner.
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- 2019
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