Thus far, my exploration of trap feminism has focused on the music, which is important because trap culture is visually inspired and illustrated by that genre. In the previous volumes of this series, I’ve examined some trap lyrics to pull out potentially feminist themes like women’s economic agency, liberation from ageism and other kinds of body- and class-policing, and most recently, romance as performed by Fetty Wap. But I have not paid enough attention to personal identity performances of specific trap artists, and how those performances might be transgressive or progressive.