the rapper says deftness, sleight of hand with the limited discursive materials of consumable black life, more about which below), borrowed from the beat-making repertoire of electronic dance mu-sic, which thrives on investment in the pushy invasion that occurs when sine waves deployed in vast open spaces make contact with bodies that intend to absorb thump, bodies invested in turning toward the direction of the sound, catching the wave of bass between them as intimacy/sex/euphoria. To make much or everything of a single ambient tone, to throw it about a cavernous space. Various studies in contrast/noise and synth overtake or emphasize the fun-damentality of the drop. In rap music, the open space of the club is the world space of the music industry, the anti-club, everywhere. In trap music, bass is threatened by the interference/meddling of the machine. Trap music's busyness or tchchiness, the way in which it ticks.
I am talking about now and about the future, about the beautiful and terrible "kind of consciousness" this new black music surfaces.

Speaking of "musical togetherness" then —even and especially as it is presently trafficked by a constellation of super rappers and producers who are indisputably mighty rock stars-think about Drake and Future's "Diamonds Dancing." Think of Future's extraordinary prolificity for which trapping is example and symbolical foundation.

Think black people who are "rock stars" think Hendrix chart domination supergroup, then think producer tag: Metro Boomin Want Some More Nigga. Think homo economicus. Think Jay-Z, and Kanye West's Watch the Throne as evidence of the possibility of a Drake and Future tour (think about the roots of all these words); think a realm where there are no women who are not strippers and drug mules and things like bikes one man swaps with another man. [...]