Progressive rap

Themes and characteristics#

Progressive rap music is defined by its critical themes around societal concerns such as structural inequalities and political responsibility. According to Lincoln University professor and author Emery Petchaur, artists in the genre frequently analyze “structural, systematic, and reproduced” sources of oppression and inequality in the world, Petchaur, drawing from her experiences teaching high school, adds that the music frequently makes connections to critical consciousness that can variously shape the intellectual sensibilities of young students who are “deeply invested in hip hop”. In the context of other rap forms, progressive hip-hop is identified as a thematic subset alongside “status rap”, which expresses concerns about social status and mobility, and gangsta rap, which examines similar existential crises and contradictions as progressive rap. In a corollary analysis, fellow scholar Evelyn L. Parker says that progressive rap “seeks to transform systems of injustice by transforming the perspective of their victims” while demonstrating “the clear prophetic voice reflecting the rage caused by the dehumanizing injustices that African Americans experience”. Noting its presence on the outside of the mainstream, Fort Worth Star-Telegram journalist Cary Darling writes that this form of hip-hop has been “alternately labeled ‘progressive,’ ‘alternative,’ ‘underground’ or ‘conscious, while essentializing them collectively as a return to the creative spirit of hip-hop’s golden era:

Patronage#

Intellectuals and patrons within progressive hip-hop often deliberate over the preservation and public recognition of hip-hop culture and history, particularly its positive impact on society. In arguing for institutional support from libraries, museums, and academia, hip-hop journalist and non-profit advocate Manny Faces says that such venues can offer young “people of color” otherwise elusive educational resources while mitigating differences between the various groups inside and outside the culture: “It is in those halls where philanthropists, benefactors, and supporters of the arts, will not only appreciate this history but also witness first-hand the innovative work being done to enhance humanity through the world’s most dominant youth culture.”

Fashion#

As with fashion in other hip-hop forms, individuals operating within progressive rap circles follow a distinct dress code that acts as a response to societal oppression. Like gangsta rap in particular, progressive and conscious rappers communicate ideas of protest against socioeconomic conditions through the use of anti-fashion, an aesthetic concept that involves styles of dress contrary to prevailing fashions. This includes donning Afrocentric clothing to represent the valorization of African cultural heritage.

1980s–1990s: Early developments#

Grandmaster Flash and the Furious Five’s 1982 song “The Message” and the music of Public Enemy are cited by both Pinn and Parker as formative examples of progressive rap. In the late 1980s and early 1990s, political hip-hop emerged with an intellectual paradigm of Afrocentricity that shaped the element of discourse in progressive rap. At the turn of the 1990s, groups such as De La Soul, A Tribe Called Quest, and Brand Nubian emerged with works that “defined the term progressive hip-hop”, according to Greg Kot, who credits them with “setting the standards for thematic genius in the idiom”. De La Soul in particular “taught rappers back in 1989 that you could make interesting and successful music without relying on venomous stares and snarling poses”, as Cheo Hodari Coker writes. While highly successful with critics, the progressive rap music of this period failed to capture a sizable audience within hip-hop’s traditionalist base of artists and fans, who gravitated more toward hardcore stylings in the genre. De La Soul’s 1989 debut album 3 Feet High and Rising, with its mix of collected sounds ranging from soul to psychedelic music, received widespread acclaim and sold well outside of the rap market. But the group’s success was soon overshadowed by the sudden rise of gangsta rap in the early 1990s. “De La Soul went from the front of the hip-hop pack to the back of an appealing and colorful dead-end street”, as Chris Nickson recounts. As hardcore and gangsta rap forms progressively dominated commercial hip-hop in the 1990s, groups such as A Tribe Called Quest, Beastie Boys, and the eclectic Afrocentric Arrested Development continued to offer a marketable alternative. Common achieved underground success with his 1994 single “I Used to Love H.E.R.” and went on to join The Roots in a developing collective and online community known as Okayplayer, featuring like-minded progressive rap musicians who emphasized the “organic” elements of hip-hop. By the late 1990s, progressive rap acts like Black Star and Juggaknots were helping inspire and shape what would become the underground hip-hop subculture of the years that followed. The underground scene in New York’s West Village in particular helped establish the careers of future solo progressive rappers such as Black Star members Mos Def and Talib Kweli, as well as Jean Grae, although as a female rapper she struggled to attract interest from record labels. Meanwhile, Fugees member Lauryn Hill had embarked on a solo career,

2000s: Competing in the mainstream#

In the early 2000s, some progressive-rap acts achieved mainstream success with records that “ruminated on hip-hop’s post-millennial direction” and that were produced “in an avant-garde vein purposely intended to evolve the genre “, as Miles Marshall Lewis chronicles. Groups such as The Roots, Jurassic 5, and Dilated Peoples continued to release minor commercial breakthroughs during the first half of the decade. In 2003, Outkast released the experimental and eccentric double album Speakerboxxx/The Love Below, comprising one half of Big Boi’s virtuosic progressive rap and another half of André 3000’s musically wide-ranging and sung love songs. Avoiding tributes to crime or violence, Big Boi touched on themes of single-parent life, organized religion, post-9/11 infringement of civil liberties, prostitution, and social fashion, with raps set to austere techno beats, funk grooves, and multitracked soul vocals. The production’s inventive vocal and rhythmic manipulation, unorthodox in-song stylistic changes, and oddly bawdy humor received comparisons to Parliament-Funkadelic and Mothers of Invention, along with more traditional 1970s R&B reference points in Sly Stone, Curtis Mayfield, and Marvin Gaye. Hailed by critics as the best album of 2003 and aided by the pop-soul hits “Hey Ya!” and “The Way You Move”, the double album was a pivotal release in both rap and pop music, according to The Independents Andy Gill, who predicted its standing “alongside the likes of 3 Feet High and Rising, It Takes a Nation of Millions to Hold Us Back and The Marshall Mathers LP – the kind of album that changes the game completely, that renders its competitors suddenly obsolete and old-hat.” Later in the decade, Common and fellow Chicago hip-hop artist Kanye West achieved further success with progressive rap records that explored contradictions in identity. Particularly in West’s case, it often gave “expression to positive rage against systems that oppress communities” in a way that Parker compares to Arrested Development. On his debut album The College Dropout (2004), the rapper-producer infused pop music sensibilities into an otherwise “conscious or progressive hip-hop” which “melded intelligence and awareness with a stylish sense of cool that appealed to a broad range of fans”, according to Darling, who also notes the contemporaneous success of the West-produced Common album Be (2005). Highsnobiety writer Shahzaib Hussain recognizes West’s opening trilogy of education-themed albums, including Late Registration (2005) and Graduation (2007), as “a triumvirate of uber-successful records that cemented his role as a progressive rap progenitor”. As industry sales declined past the mid 2000s, and other rap stars resorted to pop collaborations for mainstream appeal, West remained a highly profitable yet experimental artist impacting both pop and hip-hop markets with progressive records like the Daft Punk-sampling “Stronger” (2007). His commercial success during this period encouraged more rappers to gravitate toward the center of mainstream and alternative hip-hop forms, “when this visionary megalomaniac was remaking the rap mainstream in his own image”, as Stereogums Chris Deville details. Toward the end of the 2000s, while suffering losses in his personal life, West began to alienate the pop-culture audience with notorious on-air incidents and a polarizing departure in the downbeat and Auto-Tune-processed sounds of 808s & Heartbreak (2008), although that album too proved commercially successful and influential on the stylistic direction of hip-hop.

2010s–present: Varied directions#

In 2010, West returned from an elaborate recording process with My Beautiful Dark Twisted Fantasy, which set the rapper’s egocentric meditations on his fame against an instrumentally varied and layered maximalist production that utilized samples, rhythm tracks, keyboards, guitars, orchestral arrangements, and a host of additional vocalists. His use of samples from progressive rock records on songs such as “Power” in particular lent the album the “prog-rap” epithet, although Deville argues that the music as a whole “borrows more from prog’s pageantry and bombast than its maze-like compositional structure”. While My Beautiful Dark Twisted Fantasy was widely acclaimed and publicly redeemed West, much of the rapper’s musical work through the rest of the decade would prove inferior to fans and become progressively overshadowed by stories surrounding his celebrity family life, provocative public statements, mental health issues, and nonmusical ventures. Faces cites West’s “highly publicized controversies” as an example of factors contributing to the outside perception that hip-hop is “any more than an expressive extension of a juvenile, disorderly, misogynistic lifestyle”. American studies and media scholar William Hoynes points to Lamar with his progressive rap music for being in a tradition of African-American artists and activists that have “worked both inside and outside of the mainstream to advance a counterculture that opposes the racist stereotypes being propagated in White-owned media and culture”. Lamar’s Los Angeles-based independent label Top Dawg Entertainment became known for producing album-oriented progressive rap, being home to fellow rappers Jay Rock, Ab-Soul, and Schoolboy Q. Mello Music Group, another independent label based in Tucson, has hosted a community of progressive-rap acts, including veteran artists Kool Keith, Pete Rock, and O.C., alongside younger musicians like Open Mike Eagle, Oddisee, Apollo Brown, and L’Orange. In 2016, Vice journalist Mike Vinti reported on a development of progressive rap within the UK hip-hop scene. According to Vinti, it is being “driven by fresh minds like Gaika, Kojey Radical and Sub Luna City, who are working deliberately outside the confines of grime and traditional UK hip-hop to create genuinely progressive rap that rivals the US for creativity, urgency, and importance, and portrays a much broader Black British music landscape than you hear on the radio.” While arguing that American hip-hop was in a creative and commercial decline, Marcus Dowling wrote contemporaneously that the English rapper M.I.A. remained a progressive-rap innovator for conceiving a globalized gaze of class- and gender inequality in a musical style that melds trap, contemporary dance, and deconstructed forms of rapping. “In the 21st century, it’s entirely arguable that white is black, black is white, and things are obviously a bit difficult to understand”, Dowling contended in regards to modern hip-hop. “It’s up to a wild, diverse, hyper-intellectualized and new-age brown woman to lead us.”

See also#

• Album era
• Conscious hip-hop
• Hip-hop and social injustice
• Jazz rap
• Political hip-hop
• Progressive soul
• Progressivism
• Radicalization
• Soulquarians
• Whiteness studies

External links#

• “Progressive rap” at Google Scholar (article search)