Yes, Indeed. Trap and politics
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http://hdl.handle.net/2183/34812Coleccións
Metadatos
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Yes, Indeed. Trap and politicsAutor(es)
Data
2022Cita bibliográfica
Barros-Grela, Eduardo. “Yes, Indeed. Trap and Politics”, in Mixing Pop and Politics. Political Dimensions of Popular Music in the 21st Century, ed. Catherine Hoad, Geoff Stahl and Oli Wilson. New York: Routledge, 2022, pp. 73-83. https://doi.org/10.4324/9780429284526-7
Resumo
[Abstract] This chapter discusses Spanish trap music to analyse its political articulations. The lack of critical sources about this specific form of popular culture favours the application of a comparative approach. From a historical point of view, I compare the contemporary trap scene in Spain with the ‘quinqui’ (delinquent) imagery of the 1980s marginal youth, derived from the financial, political, and social crises of the time. Also, from a transnational point of view, I look at Owen Jones’s analysis of chavs, an underclass youth culture in Britain that could be considered as an equivalent to Spanish ‘quinquis’ and ‘trappers.’ This approach endorses a critical observation of Spain’s current politics, extremely polarized after the emergence of post-15-M Movement parties and the radicalization of right-wing political coalitions.
Palabras chave
Trap
Politics
Working Class
Music
Politics
Working Class
Music
Versión do editor
ISBN
978-0-367-24809-3