The explicit-lyrics City

THE EXPLICITLYRICS CITY DPR BARCELONA Born in the US in the 90s, the trap music scene has recently increased in Spain after several years of assimilation. Since 2016, it has become a mainstream pheno­ menon. Marshall McLuhan would agree if we say that this is a success story rooted in the perfect combination of medium and message. Exclusively broad­ casted through YouTube videos, trap has disseminated via mobile phones and social networks, which have played a fundamental role in its rapid expansion, turning it into an omnipresent phenom­ enon within urban city culture. The lyrics of trap songs are simple ‘stories’ about hedonistic lifestyles, often bragging about drugs, sex, social marginality and luxurious consumerism. Trap merges genres like hip hop and reggaeton, and can be characterized by its use of synthesizers and voice distortion by means of the Auto-Tune effect.

Once you start to understand their codes and context, an urban manifes­ tation like trap can offer a narrative of the social context, the affective ex­ pression of the youth and how they try to negotiate their agency within the urban environment.

This piece is a draft for a tool that tries to decode these other ‘languages’ and protocols, which are widely used by the urban youth to communicate with each other. Such informality generates a flux and an important ‘cumulus’ of economic transactions, which have been rapidly commodified and wisely appropriated by fashion brands like Calvin Klein, Pigalle and Hood By Air, who use renown trap artists as models for Fashion Week events or music festivals such as Sonar in Barcelona.

Such a rapid expansion has resulted in

Le Rue Boys x Afrojuice195, Afrorue, 2017.

the creation of collectives like the La Vendicion platform, triggering interactions that generate specific spatial flows of urban youth communities who gather in iconic squares such as Plaça dels Angels in front of MACBA in Barcelona or in the streets of the El Raval neighborhood.

If we agree that, ‘space is one of the key ways in which the body perceives power relations’ 1, then we might be able to better understand how trap’s messages and codes have an impact on the configuration of urban life. The streets and neighbor­ hoods play a key role, since they represent this scene in terms of territory and belonging. Trap artists use the streets, and the accompanying language as both a label and as a means of appropriation.2 It’s clear that the ambiguous label ‘trap’ makes more sense when we expand from its definition as a music genre and see that it is also a way of living within an urban context, with a whole social and cultural fabric permeating the streets of cities like Barcelona. Trying to reduce their codes and relations to solely a music genre is mainly a marketing maneuver, which most of their representatives try to stamp out.

There are some languages specific to informality, and our intention here is to learn to read some of them. So, this exercise is posed as an alternative to orthodox approaches of mapping the informal in the city, with the intention to draft new tools, which are able to build dynamic semiotics of the city, and naturally incor­ porate the language of the streets.

The piece below takes excerpts from seven fundamental figures from the trap scene in Barcelona and Madrid. The outcome is posed in the form of trap lyrics, so it could be continually growing, mutating and changing. In urban sociology and urban planning the possibilities of understanding this language and including it in the development of dynamic urban policies, could be implemented with the support of machine learning techniques, which might aid in the search for patterns and nuances.3 Our first result is heterogeneous, as it is the urban scene that has generated it, but it depicts the language and territorial expression of young bodies and their will to live and appropriate the space they understand as their city.

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La Clika de Falsalona

The gang of Falsalona (Slang: free translation Spanish/Catalan to English)

Alo, me presento, soy Karma Cereza Algo tengo roto inside of mi cabeza4 Si quieres verme ahora búscame en YouTube Meando en tu portal y masticando un Boomer En la calle ponte bambas, en casa con tacones En mi bomber no hay ni un pin, son todo galones Levanto la mano y me centran diez balones.5

Hi there I’m Karma Cereza I have something broken inside of my head If you want to see me now, find me on YouTube Pissing on your portal n’ chewing bubble gum On da street put on sneakers, at home with heels In my jacket no pins, dey are all ribbons If I raise my hand I receive ten balls.

Somos más de Lidl que de Mercadona Más de Pelé que de Maradona.

We prefer Lidl than Mercadona We prefer Pelé than Maradona.

Uhm, perdona Vosaltres sou da la sona alta, an al barri de Sarria U aun tingut tot pagat, qe creiau? Son niños de papá I a sobra fan servir paraules de lany 32.

Uhm, I ain’t mean it You are from da upper area, in Sarria neighborhood.

You have everythin’ paid, what did you believe? You are all yo pops’s kids N’ still use words coming from da 30s.

Me viste el Mercadona Yo soy una señora Este Adidas made in China, pero yo voy más mona Y es que estoy pegada Todo el día sueno en tu casa Tu novia me odia, a tu mama le encanta Soc el pussy k mana.6 I és que no em pares de mirar, Jo ja no em puc aguantar, Amb aquestes Air Force negres quan et poses a ballar.7

I get dress in Mercadona I’m uh lady My adidas are made China, but I go more cute I’m stuck All day my sound is in your house Your girlfriend hates me, your mom loves it I’m da pussy who rules.

You keep looking at me, I can’t stand it anymore, With these black Air Force when you dance.

Mi única preocupación es que el wifi esté conectao Y dibujar en el espejo con el vaho.

Soy una avioneta, mira como vuelo (ahhhhhhhhhhhhh)8 Te busco a las siete, bajate a esa hour Pa’ beber mojitos en la Mapfre Tower.9 Estamos en Barcelona, no estamos en Dakota Aquí no hace falta antibalas, idiota.

My concern if da wifi is connected N’ draw with vapor in da mirror.

I’m uh plane, look ha I flight (ahhhhhhhhhhhhh) I’ll catch you at seven, come down at this hour.

To drink mojitos in Mapfre tower.

We’re in Barcelona, we’re not in Dakota You do not need bulletproof here, idiot.

Duermo en la calle porque hay más estrellas que en ningún hotel Bajo a por agua y el Paki me dice ‘’Ha subido el nivel.’’

Mi nombre en el Times, en el Mundo y en el Marca Tú eres un pagafantas Me sigue en Instagram el rey y las infantas Yo soy un ícono Lo del pelo largo fue una idea de Yoko Ono.10

I sleep on da street cuz there are more stars dan in any hotel Come to get water n da paki tells me ‘’the level haz risen’’.

My name in da Times, in el Mundo in el Marca You are uh chump Da king n infantas follow me on Instagram I am an icon Da long hair wuz Yoko Ono’s idea.

Ratatat directas, atrapa las balas

Ratatat direct, catch da bullets

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Clika means either a group of friends, a family or a clan.

Falsalona is the name given to Barcelona in some of the trap songs by singers like P.A.W.N.GANG. It makes implicit a denunciation of society’s hypocrisy.

A clear affirmation of the self. It’s a common trait in trap singers who build a persona and a lifestyle which is broadcasted in real time through social media.

YouTube is the quintessential place to spread the message with videos that are as important as the music, as they give a place to get feedback from fans, a battlefield with haters, and a tool for quantitative metrics.

Lidl is a German global discount supermarket chain, while Mercadona is a Spanish family-owned supermarket chain that has scaled positions in the rank of food retail. Mercadona does not spend capital resources on advertising it instead relies on word of mouth and social media to promote and maintain its brand. This strategy matches the communication means of the trap scene.

This excerpt depict a beef, or a dialectic fight between two groups: Manel (an indie local band) and P.A.W.N GANG, a renowned trap band. The trappers say to the older generations that they come from a rich neighborhood but still use language from the 30s which is disconnected from current city trends.

By extension, this is both a critique of the system and a group identity reaffirmation.

Here the singer says that even though her clothes are made in China and have been bought at a supermarket, she has enough style to constantly appear and be heard in her fans’ houses.

She claims to be the one who owns the power.

One of the main concerns of contemporary urban human beings is to have access to the network. Here, access to WiFi is then followed by snappy claims of leisure and luxury in a five star hotel in the port of Barcelona. There is also a mockery to middle class youth pretending to live a dangerous life in a city where violence is not really a big problem.

References to grocery stores in the El Raval neighborhood which appear in several trap videos, with wide opening hours more adapted to group routines than other neighborhoods’ stores.

The claim to fame on social media is here explained with the ‘fact’ that the King and his daughters follow the singer on Instagram.

A metaphorical image of the danger in the streets and the popular wisdom of people living there. ‘Everywhere is a learning environ­ ment’ and the experts here are not professors, but beggars and drunks who experience the streets along with all of its crudeness.

Eso me contó un borracho de las Ramblas Lejos de mentir, puta, that’s for real Un bravo a la vida, puta, es mi vigilia.

That’s what uh drunkard from las Ramblas told me Far from lying, bitch, that’s for real Bravo to life, bitch, that’s my wake.

Yo no soy Chanel, vivo porque curro Si gasto billetes no será en Loewe Paso del dinero, prefiero lo eterno Matarme a querer, eso es lo que quiero.11

I’m not Chanel, I live cuz I work If I spend money it won’t be in Loewe I don’t care of money, I prefer da eternal Kill myself to love, that’s what I want.

En el hood no hay amigos solo hay trash Otra lágrima en mi mama Y por mi mama que lo mato Porculeros y capos Comiendo del mismo plato.12

In da hood there are nah friends there is only trash Another mom’s tear N’ I swear for my mom I kill him Snitchers n mafia Eating in da same dish.

Anem pels carrers Com bandulés Tots fen diners I cada dia es igual, aka es el mateix Sempre estem perduts Amun i avall, buscant l’ingrés.13

We go through da streets Like bandits Making money N’ every day is da same, aka da same We are lost Up n down, looking for income.

Que le follen a los avisos de desahucio Ven para mi barrio Y te hacen la del Romario La virgen del Rosario Un santuario.14

Fuck da eviction notices Come to my neighborhood N’ dey make you da Romario’s Da virgin of Rosary Uh sanctuary.

Guárdate eso hermano Esquina en esquina, la Latina está quina La gente en platina, neighbourhood contamina Se huelen papelinas y se huelen gasolina Déjame el fumar en paz, vuelo sola Y no te metas en mi consola Antes sola, mi poema es amapola.15

Beware that bro Corner in corner, da Latina is machine Niggahs on stage, neighborhood pollutes Day smell paper n’ smell gasoline Let me smoke in peace, flight alone N’ do not mess with my console Before alone, my poem is poppy.

Me sobra actitud pero me falta promo Panini va a vender toda mi vida en cromos.16

I have attitude but I still lack promo Panini is going to sell all my life in cards.

De Valencia City, sittin on the Condal Reservo mi esencia, condenso mi tiempo Yo quiero vivir, vivir en presente Pasado, futuro y tú que estás caliente Yo me abro en canal y siempre voy de frente.17

From Valencia City, living on the Condal I reserve my essence, I condense my time I want to live, to live in da present Past, future n you who are hot now I get wide-open n always going straight.

I’m in the fucking Krakhaus, fuck you bitch!

I’m in da fucking Krakhaus, fuck you bitch!

YouTube playlist with referenced tracks: https://www.youtube.com/ playlist?list=PL2UYycQ55tjeU1fJTHmjaldL1_ryhcqYX

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A reference to both luxury brands but also to rivals in the trap scene. The rivalry between groups is continually fed as a means of self-expression, and reclamation of power and popularity quota.

Several trap songs depict harsh conditions in peripheric neigh­ borhoods and how their ancestors took most of the suffering (specifically the mothers) who witness with frustration the dubious future faced by their sons and daughters.

A recurrent topic in the scene is the claim for money and the appropriation of the streets as the territory to earn it, often by means of illegal trading.

Evictions have been continuously raising in Barcelona, from around 4000 in 2013 up to nearly 15000 in 2017. There is a strong and mobilized citizen movement which faces a legislation that still favors financial entities. References to soccer and religion are used to explain the elusive tactics of the population to confront institutional forces.

Spain takes second place in the EU for cocaine consumption, just after the UK. La Latina in Madrid is a central neighborhood that has seen the rise of ‘narco apartments’ used for small drug dealing.

A similar situation occurs in the El Raval neighborhood in Barcelona, where more than half of such apartments belong to banks, investment funds and institutions.

A tribute to the self and the will to self exposure. Panini cards are very popular among young children as they can collect portraits of their football idols. This reference somehow points to the lucrative figure of the social media influencer who is exploited by brands to promote their products among the youth by using their idols’ direct recommendations.

Around 2.5 million Spanish people have migrated in search of a way to live in foreign countries. This doesn’t seem to be the case with internal migration to cities like Madrid and Barcelona which have wider sector diversification. Spain’s youth unemployment rate, a staggering 45%, may suggest that there is a huge amount of talent being squandered, but the strategies developed by trap and other urban young scenes, show that ‘unofficial’ talents are inventing new ways of living.

It seems that it’s been a long time since politicians, planners and technocrats have lost touch with how street people live.

That is a mistake we can’t afford to replicate, if inclusive cities are really to come.

1. M argaret Kohn. Radical Space: building the house of the people. Ithaca: Cornell University Press, 2003.

2. Alexandra Noel Baena Granados. I’m in the fucking Krakhaus, fuck you bitch!. La escena trap de Barcelona.

Barcelona: Universitat de Barcelona, 2016.

3. DeepBeat is a program which uses machine learning techniques to generate rap lyrics by combining lines from existing rap songs. http://deepbeat.org/ 4. Mueveloreina. Cheapqueen, 2016.

5. Kinder Malo. La Ley de Eddie Murphy, 2015.

6. Bad Gyal. Mercadona, 2016.

7. P.A.W.N GANG. Bandulés, 2016.

8. Pimp Flaco ft. Kinder Malo. Chemtrails, 2016.

9. Dicc featuring Pimp Flaco. Poderío, 2015.

10. Ibid 5.

11. Ibid 1.

12. YUNG BEEF – A.D.R.O.M.I.C.F.M.S, 2014.

13. Ibid 7.

14. Ibid 12.

15. Somadamantina, El Pago, 2012 16. Ibid 5.

17. Ibid 1.