Outspoken Poet's Blog

1970  

• The Last Poets release their eponymous debut album. It's combination of spare funk and aggressive, socially-conscious spoken word will be an early brick in the foundation of what would come to be hip-hop.
  
  
• James Brown releases 'The Big Payback', an early funk gem that emphasizes the groove rather than melody over his aggressively spoken vocals.
  
  
• A young immigrant from Kingston, Jamaica named Clive Campbell begins deejaying at local parties. As DJ Kool Herc, he invents a new technique of deejaying that would cut two of the same records and extend the middle instrumental, or 'break,' of the popular funk and disco songs of the day.

“Told you the truth but who was I to brag / Especially how Kymani finds it hard to laugh / I miss my homie but she’s missing her dad / It weighs on my conscience and I hate Conscious Rap…” - Malice, “Footsteps”



By Radoslav Penchev

I was listening to Til The Casket Drops—not necessarily mad at it, but definitely wishing it was more like Hell Hath No Fury—when I found Malice quoting scriptures and talking about watching Madagascar with his kids in a way that didn’t sound preachy or forced. I started wondering if Malice and Pusha T had stumbled upon some bastardized form of “Conscious Rap.” The Clipse have voiced their distaste for rhymes with heavy-handed messages over the years. But if this is the new standard for what’s conscious, I’m either glad Conscious Rap, as my generation knew it, is dead or interested to see who else will toss a few more shovels full of dirt on the casket [no pun intended].

Nearly everyone was familiar with Conscious Rap back in the '90s. For those in the suburbs, or those in the hoods across America and the world,who were bussed to schools in the suburbs, it was a nice alternative to the N.W.A. cassettes that we had to hide from suspecting parents. I can remember beefing with my camp counselor—a bearded white guy who played acoustic guitar—for nearly a whole summer, until we discovered a mutual love of A Tribe Called Quest. Now this shared appreciation of “Verses From The Abstract” didn’t produce some deep moment where we both suddenly understood each other’s cultures. But it pretty much ran the gamut of what Conscious Rap was good for. At best, a song like “New World Water” is a talking point and semi-educational because it comes from a familiar source, as opposed to watching An Inconvenient Truth.

At worst, Conscious Rap was dreadfully corny and heavy-handed with the messages. From Tribe’s “Ham ‘N’ Eggs,” a few dozen horrible imitations, and even my beloved dead prez with the throwaway “Mind Sex.” I challenge any reader to send me proof that you’ve either successfully executed or fallen victim to the “garden salad and chess combination” stic.man describes below:

“Now I know you think I wanna fuck and no doubt / But tonight we try a different route / How about we start with a salad / A fresh bed of lettuce and croutons / Later we can play a game of chess on the futon…” - stic.man, "Mind Sex"

I’m in no position to question stic.man’s intentions, and that’s really beside the point. But his line unintentionally illustrates one of the worst things about Conscious Rap. For conscious male emcees, the position of the alternative to gangsters, thugs or whatever you want to call them, was this type of super-sensitive captain save a ho. It emasculated men and robbed us of the fact that a male emcee could be intelligent, articulate and ignorant all on the same album. And there is a lesson to be learned, not only for Dead Prez, that metaphors are a delicate matter. They can elevate your lirics in the realms of genius or as is the case in "Mind Sex", they can make you look silly.

For all its hipster-induced faults, that’s one of the beautiful things about Jay-Z’s Blueprint 3 album. In less than 20 minutes, Hov goes from criticizing people “sitting in front of their computers/shooting YouTube up” to advising enemies to give their suit size so they can be properly dressed and buried after the “ruger runs through a few clips.” Is it hypocritical? Maybe. But this is the human dynamic. The pseudo-conscious emcee trying to remake “Bonita Applebum” every album is denying what we all know to be true. In certain situations he will behave just like the gangster/thug he tries so hard to be the opposite of, because thats we all need to feel superior some times. Ironically, Jay-Z might also provide the best example of why “conscious” Rap is dead. As with most things in Hip Hop, it comes down to the money.

“I dumbed down for my audience to double my dollars / They criticize me for it yet they all yell holla / If skills sold truth be told I’d probably be lyrically Talib Kweli / Truthfully I wanna rhyme like Common Sense / But I sold five mill, and I haven't rhymed like Common since.” - Jay-Z, “Moment of Clarity”

For some one like me, who manifests hip-hop as a mirrored projection of life, a blueprint for problem solving, those lines punch. And I am sorry to hear them.
To be fair, there’s a large number of emcees we tried to relegate to the arena of Conscious Rap. They not only took offense to the label, but they found ways to parlay whatever underground success they had into more mainstream visibility and paychecks. Common, who was a mainstay on the conscious circuit, has with four albums and five movies made during the last decade,with his last album predominantly radio orientated. I would venture to say the only reason Talib Kweli can continue to make anything conscious is because he also knows how to make a catchy single like “Get By.” It also doesn't hurt that his BlackSmith imprint gives him more creative control and a larger share of profits than he saw during his Rawkus days.

But beyond any doubt there are "veterans" left.Mos Def, once thought of as the poster child for Conscious Rap, has made more movies (11) than albums (3) over the last 10 years but let's hand it to him - none of his movie(except The Hitchickers Guide To The Galaxy), nor any of his albums, have deviated. He is a great actor and an even better lyricist, and he more than etched it in stone with "Extatic". The album sealed his name as a conscious rapper, and is just what we expected - a vivid depiction of the downwardly spiral on which human kind is now sliding. The Roots, probably the most critically acclaimed and in my oppinion the best of the best, are just as likely to appear in a commercial or alongside The Clipse, as they are to release a song like “What They Do.” It’s all about balance. But yet their music remains predominantly a depiction of all the sides of humanity we do not want to talk about, and if that is not conscious, I honestly don't know what is.


A couple months ago, during a press junket for Survival Skills, KRS-One made the observation that the declining retail sales of Rap music over the last decade would cause a return to some of Hip Hop culture’s fundamentals. Since Kris is always good for a pull-quote (i.e. “Def Jam singlehandedly destroyed Hip Hop”) many of us took his observation as the type of sour grapes we usually hear from formerly relevant artists of yesteryear. After all, this is usually the part where they start talking about a B-Boy renaissance, complete with boomboxes and Addidas track suits. But KRS wasn’t just talking about culture; he was talking about commerce too.

“I’m taking it back to Zulu Nation when Afrika Bambaataa used to throw jams in Bronx River Houses,” KRS said. “It was understood that Jazzy Jay would make the cassette and dub the tape for this person or that person for $5 or $10. Everybody knew that if you got the tape, you would then be able to sell the tape yourself.”

His tendency to use hyperbole aside, it’s worth noting that Kris was holding semi-automatic weapons on the cover of his first two albums while dropping knowledge on the songs inside them. I can’t speak for everyone, but that kind of balance is all I really ask from an emcee. Don’t kill your crossover appeal in hopes of dropping a jewel on me. One of the things conscious rappers forget when they’re emulating legends from the 80’s is that someone like Slick Rick was versatile enough to give you “Lick The Balls” and “Children’s Story.” Yet he remains one of the great storytellers. Rappers can't choose their audience, but you can sure as hell chose what to listen to. Is there any reason why releasing an album which harshly criticizes mainstream, urban radio and being in Nike commercials have to be mutually exclusive? As someone who dropped Hip Hop Lives with Marley Marl then took a nice check from Nike to rhyme next to Nas, Rakim, Kanye and Premier, KRS would likely answer that question with a loud, “Hell no.” If Lupe Fiasco does it on every album, then is conscious hip-hop dead? No. The problems is that hip-hop music gave it's place in the focus of mainstream media to it's retarded cousin - rap, gangsta or not. And with a constantly dropping IQ rate of the average MTV rapper, a very negative notion about hip-hop is settling into peoples minds, just as the media tried to do in the 80's.

While having this discussion with a friend, the question of if the sub-genre of Conscious Rap could have been saved came up. The thing is, Conscious Rap didn’t necessarily die. Maybe the best thing to ever happen within the last 15 years is that mainstream emcees learned to integrate any socio-political agendas within their bars during the same time “underground” emcees learned how to manufacture good singles. Both groups realized there was no need to alter their appearance or limit themselves to making a certain type of Hip Hop.

Can you really be mad at the Game when he tells you that he had to deal to save his brother, because he was expelled from school over a tattoo. Does he not then say that he would change it all if he can go back to scratch? I need not know if he is "real" or not. Gangsta or no gangsta, conscious or not, what he speaks is truth, and that is all that matters at the end of the day.

Now that no one is forced to buy a physical album, the so-called conscious emcee can’t present him/herself as the alternative to the norm in hopes of grabbing a small share of album sales. If conscious artists are forced to make better singles and emcees who want to use the word gangster need to offer some social commentary and credibility, then be it so. That’s probably why you won’t find anything that could be considered “conscious” on Billboard’s Hot 100 chart. Yet Foreign Exchange is nominated for a Grammy award, The Roots are the only positive thing in the corny world of late night talk shows, and Styles P sounds better than ever alongside Talib Kweli and Statik Selektah. To me this is exactly what KRS was talking about. Not only does limiting an emcee to conscious subject matter make them one-dimensional, but they’re also likely to go broke. It is high time that hip-hop music reconnects with hip-hop culture and instead of bouncing girls in the background we start seeing breaking b-boys, and DJ's(real once, not winamp faders) regain their rightfull place along side rappers. Conscious hip-hop is not dead, it's out there as long as you are looking for it.

As long as people are dealing with unemployment, gentrification, police brutality and other issues, there will always be emcees rapping about it. It’s been that way since Grandmaster Flash & The Furious Five dropped “The Message.” And as long as the aforementioned issues exist, people will probably turn on Gucci Mane, New Boyz or DJ Webstar as some form of escape. Part of being truly socially conscious, is accepting those facts, and not throwing on some costume to push your own agenda under the guise of being uplifting.

O.P.:An interesting article I stumbled uppon.I don't agree with it but there is ground to those claims.

Scotland On Sunday
28 December 2008

Academics claim the rap battle comes from the ancient Scottish art of ‘flyting’, the
SCOTLAND takes justifiable pride in a history of invention that has given the world the telephone, television, radar, penicillin and even cloned sheep.But now there are claims that the land of Burns and bagpipes is also the ancestral home of rap music.Academics insist that the roots of the bombastic form of spoken-word music stem from the taverns of medieval Scotland rather than the mean streets of the Bronx and Brooklyn.They claim the contemporary art of the rap battle, popularised by Eminem in the hit movie 8 Mile, is a direct descendant of the ancient Caledonian art of 'flyting', where feuding opponents settled scores by trading ever more elaborate insults.

According to the theory, Scottish slave owners took the tradition with them to the United States where it was adopted and developed by the slaves themselves, emerging many years later as rap.American academic Professor Ferenc Szasz is convinced there is a clear link between the robust verbal feuds of old Scotland and the rap contests of the contemporary United States.The historian from the University of New Mexico, who specialises in American and Scottish culture, said: "The Scots have a lengthy tradition of flyting: intense verbal jousting, often laced with vulgarity, that is similar to the dozens that one finds among contemporary inner-city African-American youth.

"Both cultures accord high marks to satire. The skilled use of satire takes this verbal jousting to its ultimate level – one step short of a fist fight. All words can sting, and hard ridicule such as mimicry, irony and sarcasm, stings most painfully. When used by an expert it can reduce an opponent to jelly."

The leading theory is that the traditional form of settling scores was taken across the Atlantic by Scottish colonialists who passed it on to African-American slaves who were working on their plantations.Professor Willie Ruff of Yale University is in no doubt that the music of Scottish slave owners had a profound impact on the development of black music traditions in the US.He said: "We clearly have European roots too. While it may not be satisfactory and it may not be comfortable, it is what it is. It is in our names, it's in our music, it's in our blood."

Ruff cites black musical giants like Dizzy Gillespie, Louis Armstrong and Charlie Mingus – or Menzies – as examples of individuals whose ancestors were given their surnames by Scottish slave masters.In this shameful episode in history, slaves were expected not only to adopt the monikers of their European owners, but also to adopt their customs.The cultural fusion between the early African Americans and their Scottish overlords was such that black worshippers sang in Gaelic in church services in Alabama and other parts of the South until as late as 1918.Ruff said: "While black culture and worship do come from Africa, there were elements that were imposed by the whites, but they took this and 'blackened' it."

Szasz's theory about the links between flyting and rap come in a new work examining the historical context for Robert Burns's work. The most famous surviving example of the combative Scottish oral tradition comes from the 16th-century work The Flyting Of Dunbar And Kennedy. There, two rival poets attempt to establish their supremacy by hurling increasingly obscene rhyming insults at one another before the Court of King James IV.

Meanwhile, Ruff points to the American Folk Arts in Education project, which explores musical traditions and also links European flyting to rap battles, concluding that in both cases: "Exchanges are stylised, parallel, symmetric and stanzaic.

"Two people engage in ritual verbal duelling and the winner has the last word in the argument, with the loser falling conspicuously silent."