My intention in this paper is to broadly analyse the images created by the delinquency, the street and the neighborhoods in the gangsta rap and the Spanish trap since 2000, confirming its linear continuity and the increase in these representations with the economic crisis. The journey shows us how subaltern voices develop these speeches through their song?s lyrics and biographies: what mechanisms of identification and conventions they use, what motifs they depict and what influences and resources they adopt. I'm giving special attention to the use of Hispanic references within the street universe and the lumpen such as the quinquis among many others. I'd like to take the chance to comment on the phenomena happening inside the rap's artistic field which respond to the irruption and the recent development of these genres and their own interactions. All with the purpose of reading, from a sociological point of view, the tracks of what seem to be the successors of the street cultural practices. Led by popular music, through a fierce resistance and visibility, adding up to the history of underprivileged classes in Spain.