That music, which Miles Davis calls “social music,” to which Adorno and Fanon gave only severe and partial hearing, is of interdicted black social life operating on frequencies that are disavowed — though they are also amplified — in the interplay of sociopathological and phenomenological description. How can we fathom a social life that tends toward death, that enacts a kind of being-toward-death, and which, because of such tendency and enactment, maintains a terribly beautiful vitality?
— Fred Moten, “The Case of Blackness”
Trap is social music.
— Fred Moten, “The Case of Blackness”
Trap is social music.
