To put it most unkindly, trap music is adult contemporary for the prosumer age.
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B̤̺͍̰͕̺̠̕u҉̖͙̝̮͕̲ͅm̟̼̦̠̹̙p͡s̹͖ ̻T́h̗̫͈̙̩r̮e̴̩̺̖̠̭̜ͅa̛̪̟͍̣͎͖̺d͉̦͠s͕̞͚̲͍ ̲̬̹̤Y̻̤̱o̭͠u̥͉̥̜͡ ̴̥̪D̳̲̳̤o̴͙̘͓̤̟̗͇n̰̗̞̼̳͙͖͢'҉͖t̳͓̣͍̗̰ ͉W̝̳͓̼͜a̗͉̳͖̘̮n͕ͅt͚̟͚ ̸̺T̜̖̖̺͎̱ͅo̭̪̰̼̥̜ ̼͍̟̝R̝̹̮̭ͅͅe̡̗͇a͍̘̤͉͘d̼̜ 
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:/
☭
B̤̺͍̰͕̺̠̕u҉̖͙̝̮͕̲ͅm̟̼̦̠̹̙p͡s̹͖ ̻T́h̗̫͈̙̩r̮e̴̩̺̖̠̭̜ͅa̛̪̟͍̣͎͖̺d͉̦͠s͕̞͚̲͍ ̲̬̹̤Y̻̤̱o̭͠u̥͉̥̜͡ ̴̥̪D̳̲̳̤o̴͙̘͓̤̟̗͇n̰̗̞̼̳͙͖͢'҉͖t̳͓̣͍̗̰ ͉W̝̳͓̼͜a̗͉̳͖̘̮n͕ͅt͚̟͚ ̸̺T̜̖̖̺͎̱ͅo̭̪̰̼̥̜ ̼͍̟̝R̝̹̮̭ͅͅe̡̗͇a͍̘̤͉͘d̼̜ 
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death of good music etc.
Music styles that, like hip-hop, are connected to some kind of grass roots, are fluid, with constant incremental changes building into epochal ones. When they move from their base audience, it’s often because a particular conjuncture of sounds resonates with a new crowd. But here is where a kind of misrecognition occurs: for the neophytes, the style is this one way, frozen in time. The give and take between music makers and their core followings, the push and pull, ebb and flow that built disco, hip-hop, house, reggaeton, and so on, is interrupted by listeners who in their enthusiasm don’t always understand the history or sociology of their genres. They don’t have to: when music becomes a commodity, it can travel worldwide, as all commodities do, severed from any knowledge of the conditions of its production. Genres cease to be grassroots social worlds, and instead become something more like brands: mere sonic surfaces rather than deep historical processes.
When a genre develops a signature sound, it’s ripe for the plucking by interlopers. Instead of having any real connection to the communities that develop musical styles through the dialectical movement between music makers and their core audiences, an outside producer just has to have a decent set of ears and a computer, and can start cranking out reasonable facsimiles, like factories in China churning out fake Coach purses indistinguishable to everyone but connoisseurs. Even if you can tell the difference, the functional parts are close enough. Today’s Chinese pirate manufacturers pride themselves on their quality goods, just as today’s kings of musical appropriation do.
This is how a new definition of trap arose, one tied to EDM, or Electronic Dance Music [...] As you might guess, EDM trap has little to do with the off-the-books hustles of the urban poor. Rather, it’s a largely middle-class affair, slapped together by suburban teens and college sophomores; using dubstep as your Call of Duty soundtrack is so 2009. Today’s trap retains most of the sounds of underground hip-hop: the booming 808 bass drums, the hi-hats, and of course, the drops, now deployed in that irritatingly knowing way that characterizes so much digital culture. The answer to “Damn, son, where’d you find this?” is always the same: you downloaded it off the internet.
But there’s one important sound that has been removed in this refurbishing process: EDM trap is mostly instrumental. By dispensing with the rapping, EDM trap effectively silences the black voices that kept the style connected to the stories of the American lumpenproletariat. It’s the auditory equivalent of kicking out a poor family so you can live in their classic brownstone. In the words of one of the dance underground’s sharpest figures, Rizzla DJ: “Damn, son, put that back where you found it!”
Is the author against any and all reappropriation/reinterpretation of music by those outside its original scene? Or, is his condemnation of EDM Trap a tacit admission that the vocals and lyrics were the only good features of old-school vocal Trap?White people cultural appropriation yadda yadda yadda what do you mean Lunice is black yadda.