Billy is a self-proclaimed word nerd, living and working on unceded Gadigal land. Her current area of interest includes an interpenetrating consideration of collectivity, embodiment, and language. Through her practice, she considers how autonomous spaces are assembled through the transfiguration of these things. She likes to leave things open, emphasising the continuity of collaboration and loves nothing more than a good chat.
is a hybrid text, an experimental, poetic essay of sorts. In it, I have situated myself as someone who loves trap music, what it means to me, and what this means. I argue that the slippery language of trap articulates kinship through abject oozings, it bends and evades like the snares that surround the music. In this way, trap denies universality, spectacularity and superficial notions of identity politics. I consider trap music an incredible and intelligent art form and reject conceptions of the lowbrow. I'm interested in de-hierarchising citational practices, and this text is largely intertextual. Trap stars stand hand in hand (or hyperlink in hyperlink) with academics, creating a work that forefronts slimy voices (slimy being a term of absolute endearment).