Tribalism in Progressive Circles

"As I experience certain sensory input patterns, my mental pathways become accustomed to them. The inputs eventually are anticipated and even missed when absent." - Data on Star Trek: The Next Generation.

I've often wondered about why there are subgroups within the prog movement who endlessly complain and berate other people within other prog subgroups. There are some in the progmetal group who don't like classic progrock. There's some in the progrock group who don't like anything classified as metal. There's those from both groups who dislike fusion, and undoubetly fusion lovers who dislike prog, people who don't like instrumental music, neo-classical, female-fronted bands, zeuhl, deathy growls, avant garde prog, shredders, and the list goes on and on. If there's any truth today in prog it's that it's hard for all of these subgoups to get along and accept one another, and I think I know part of the reason why.

The progressive rock movement was born out of rebellion. In the late 1960's the baby boomer generation rejected the ideals of their parents and formed their own unique 'hippie' culture, set of radical beliefs, mannerisms, way of dressing, and most notably for us their own form of music. We can listen to their music today and is still very much relevant but I don't think we can still share that feeling they had of all belonging together in a way that gave them their sense of purpose. On a related note to my discussion in Colorado and regions of the Soutwest US today there is a subset of the population who live what is called the "Western" lifestyle. They are pretty easy to spot. They predominantly buy their clothes at Western clothing shops, wear cowboy hats, Wrangler jeans, leather boots, listen to country music, drive pickup trucks, eat their own kind of foods, and attend rodeos. I'm generalizing of course. But acceptance to this group of people is fairly straightforward. One simply has to adopt their principles and mannerisms in order to belong.

For whatever reason these subgroups are formed, whether through a desire to rebel, sharing in a common cause, or a need to fit in there is tribalism at play here. This being the unique set of norms each of carries with us to in order to belong to whatever subgoups we feel connected to. In the past I've included myself in many of these different groups with friends, musicians, photographers, schools, and professional organizations. Today there are endless clicks within the prog genre who have each created their own set of norms, what is acceptable within the group and what isn't. Those who do not adopt the same musical preferences as the group are viewed as outsiders to that group. Undoubetly within these groups there have always been the code-enforcers who are quick to point out others within the group and are all to happy to ridicule or berate them if they violate the accepted norm.

Let me throw out a few specific examples to drive home my point. My first example is probably one of the most divisive today in prog circles, and it has to do with the use of death metal or "cookie monster"-style vocals. I was reticent the first time I heard them and probably would have rejected them had it not been for the constant prodding of a friend of mine to listen to Opeth and the fact that I had read somewhere that Mike Portnoy loved Opeth's Blackwater Park album. It's ironic that the push that was needed for me to get over accepting the vocals for what they were had practically the opposite reaction among Opeth fans when the Morningrise CD first came out. Fans of the band at the time were upset at the band for "ruining" their death metal by including clean vocals in the music. In both cases the listener was forced to make choices that affected their own set of beliefs on what music should or shouldn't sound like. Some countries like Holland and Sweden seem to more readily accept this vocal style than other countries, so culture may play a role.

My second example relates to a few years ago when I made the decision to remove 5-10% of the music from the Progulus Radio library. I removed many power metal, classic rock, AOR, and heavy metal albums that I felt did not contribute to my vision of what a progressive radio station should be. After protests from a few of the listeners I did end up adding back some of the music that I had originally taken off. I did this because I realized that I had been following my own set of tribal norms and predjudices. Right or wrong this tribalism is is an unavoidable part of life. Even though I felt it was the right thing to do, I acknowledged the fact that my own views differed from that of other listeners. That is not to say that I'm ready to start adding back non-progressive albums like was done before, because tribalism does have its place and the line has to be drawn in the sand somewhere.

Progulus Radio today has a very wide range of prog subgenres, perhaps more than many listeners are accustomed to. I think this variety is one of the reasons that Progulus Radio has such a hard time attracting new listeners. The radio station that a listener is seeking must fit within their own predetermined set of ideals or else they are quick to lose interest. The now defunct UK70's radio station is a case in point. As their name implied, they played all old 70's UK progrock bands and they had a huge following. Likewise other internet radio stations today with a more focused playlist have many more listeners than Progulus Radio does. That's not a good thing or bad, but it does show how certain stations resonate to a greater or lesser degree with certain groups of listeners.

I would like to point out here that even with all the bickering and lack of acceptance within the subgroups in the prog genre, the listeners at Progulus Radio are some of the most open-minded people that I know. There will always be disagreement, but the jovial nature and willingness for people to get past their differences makes the radio station something special. We do get the 'tagboard police' on occasion who are quick to point out what they feel does or doesn't belong on the radio station, and that is fine because now we know the reason for it. Personal taste in music is affected by many factors, and tribalism and acceptance by peers is probably only one facet of it. Just like Data from Star Trek said: "your neural pathways have not yet become accustomed to our sensory input patterns".