The person you’re responding to is an autistic wheelchair-bound lesbian woman living in Ghana.
What now?
Personally, I’d prefer internet commenters argue in good faith instead of emotionally parroting 2010s social justice identity jargon. You could have responded with something op was missing about said music (interesting history, examples of artists innovating there, etc) instead and added some value to the thread.
I'd be suprised if an autistic wheelchair-bound lesbian woman living in Ghana would either confuse reggaeton with trap or be overly bothered by a local excess of either sufficient to want to detonate and destroy any physical media given much of it would be immortalised as digital patterns in the cloud.
What a sane and normal response! Did I not already share some interesting history? Aren't you directly replying to that?
But okay, here's another one: that same queer and black community from Chicago that definitely didn't feel great about ~50k white men burning their records developed a new (now super popular) genre on top of the ashes of disco (both metaphorically and literallly).
Its name is a reference to a nightclub in Chicago called The Warehouse (https://en.wikipedia.org/wiki/Warehouse_(nightclub)), which was frequented primarily by gay black men in the early 1980s. People all over Chicago were looking for the type of music that was playing in the Warehouse, hence the name: 'house music. So, not only was that day in Chicago fundamental to the death of disco, but it was also fundamental to the birth of house music. The more you know!
What now?
Personally, I’d prefer internet commenters argue in good faith instead of emotionally parroting 2010s social justice identity jargon. You could have responded with something op was missing about said music (interesting history, examples of artists innovating there, etc) instead and added some value to the thread.