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Grime + Gentrification
GRIME + GENTRIFICATION In London the streets have a voice, multiple actually, afro beats, drill, Lily Allen, the sounds of the city are just as diverse but unapologetically London as the people who live here, but my sound runs at 140 bpm. When I close my eyes and imagine London I see tower blocks, the concrete isn’t harsh, it’s warm from the sun bouncing off it, almost comforting, council estates are a community, I hear grime, it’s not the prettiest of sounds but when you’ve been raised on it, it’s home. “Grime is not garage Grime is not jungle Grime is not hip-hop and Grime is not ragga. Grime is a mix between all of these with strong, hard hitting lyrics. It's the inner city music scene of London. And is also a lot to do with representing the place you live or have grown up in.” - Olly Thakes, Urban Dictionary Or at least that’s what Urban Dictionary user Olly Thake had to say on the matter back in 2006, and honestly, I couldn’t have put it better myself. Although I personally trust a geezer off of Urban Dictionary more than an out of touch journalist or Good Morning Britain to define what grime is, I understand that Urban Dictionary may not be the most reliable source due to its liberal attitude to users uploading their own definitions with very little screening and that Mr Thake’s definition may also leave you with more questions than answers about what grime actually is and how it came to be. -
The A-Z of Brent's Black Music History
THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business. -
Redalyc.Todo Empieza
Adicciones ISSN: 0214-4840 [email protected] Sociedad Científica Española de Estudios sobre el Alcohol, el Alcoholismo y las otras Toxicomanías España MEASHAM, FIONA; HADFIELD, PHIL Todo empieza con "E": Exclusión, etnicidad y formación de élites en el mundo actual de las discotecas inglesas Adicciones, vol. 21, núm. 4, 2009, pp. 363-386 Sociedad Científica Española de Estudios sobre el Alcohol, el Alcoholismo y las otras Toxicomanías Palma de Mallorca, España Disponible en: http://www.redalyc.org/articulo.oa?id=289122903008 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Todo empieza con «E»: Exclusión, etnicidad y formación de élites en el mundo actual de las discotecas inglesas Everything Starts with an ‘E’: Exclusion, ethnicity and elite formation in contemporary English clubland FIONA MEASHAM*; PHIL HADFIELD** * Profesora titular de Criminología Universidad de Lancaster ** Investigador titular de Delincuencia y Gobernación Universidad de Leeds Enviar correspondencia a: Fiona Measham. Lancaster University [email protected] recibido: noviembre 2008 aceptado: marzo 2009 RESUMEN ABSTRACT Los primeros estudios sobre las discotecas se centraban en la identificación Early Club Studies emphasised the inclusiveness of club cultures and the PLUR de la cultura de discoteca con -
De Lacey, Alex. 2020. 'Wot Do U Call It? Doof Doof': Articulations Of
de Lacey, Alex. 2020. ‘Wot do u call it? Doof doof’: Articulations of glocality in Australian grime music. Global Hip Hop Studies, 1(1), pp. 115-141. ISSN 2632-6825 [Article] https://research.gold.ac.uk/id/eprint/29864/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Articles. Received 29/10/19. Accepted 25/11/19. Alex de Lacey. Goldsmiths, University of London. https://orcid.org/0000-0002-4538-4138 Alex de Lacey is an Associate Lecturer at Goldsmiths, specialising in popular music. He teaches Popular Music within the department and his PhD thesis – entitled Level Up: Live Performance and Collective Creativity in Grime Music – was supported by the AHRC’s Consortium for the Humanities and Arts in the South East (CHASE). It was supervised by Professor Tom Perchard and Professor Keith Negus, and was successfully examined in November 2019 by Professor J. Griffith Rollefson and Professor Julian Henriques. In addition to his academic research, Alex writes for publications including Songlines, Red Bull and Complex, and he is an active participant in the London grime scene as a DJ and broadcaster. [email protected] Goldsmiths, University of London, New Cross, London, SE14 6NW, United Kingdom ‘Wot Do U Call It? Doof Doof’ ‘Wot Do U Call It? Doof Doof’: Articulations of glocality in Australian grime music Alex de Lacey Keywords: Grime Music, Mediation, Australia, Media Ecologies, Glocality, Transnational Flow, Hip-Hop, Youth Studies, Performance Practice Abstract: Grime music emerged at the turn of the millennium in the United Kingdom. -
Cards to Be Issued from November, Will Cost
With compliments of www.africa-news.eu OCTOBER 2008 I MONTHLY NEWSPAPER FOR AFRICAN COMMUNITIES IN UK AND EUROPE I PRICE €free 1,00 £ 1,00press Phone: +390687410531 IFax: +390687410528 IEmail: [email protected] IMY OWN MEDIA: Tel +44(0)20 75593555 IEmail: [email protected] UK unveils ID cards for foreigners IMMIGRATION NEWS Trade Union leaders Cards to be issued from back the campaign to let asylum seekers November, will cost £30 P. 3 work P. 6 EU ministers approve key immigration pact Spice Girl Pact to create "Blue Card" to attract highly skilled workers © LaPresse Mel B to-host 13th ALDE spokesperson on migration Jeanine Hennis-Plasschaert says MOBO EU immigration pact must not be one-sided P. 4 Awards in THE GUIDE London How to appeal a visa refusal decision P. I What happens to me if my employer goes into liquidation? P. II COMMUNITY The 13th annual MOBO Awards takes place at Wembley Arena in London on Wednesday Big African stars gather for a 15th October. Spice Girl Mel B will co-host the awards for the first time since 1999 along- fundraising birthday party in side Rev Run, founding member of iconic hip hop outfit Run DMC. P. 7 London P. 10 BECOME AN ISI WESTERN UNION SUB AGENT CALL TODAY 0207 440 2960 AFRICAN EVENTS IN UK 22 October 2008 Nigerian artist Nnenna Okore’s new Works in her debut London solo show Exhibition takes place at the October Gallery from 16th October to 6th December 2008 Emerging, young artist Nnenna Okore A former student of El Anatsui, whose the Big 4 Project. -
King's Research Portal
King’s Research Portal DOI: 10.1080/03007766.2018.1471774 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Adams, R. (2019). “Home sweet home, that’s where I come from, where I got my knowledge of the road and the flow from”: Grime music as an expression of identity in postcolonial London. Popular Music & Society, 42(4), 438-455. https://doi.org/10.1080/03007766.2018.1471774 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
The Business of Grime
RESEARCH INSTITUTE FOR CULTURAL AND MEDIA ECONOMIES CAMEo CUTS #6 The Business of Grime Joy White CAMEo Cuts CAMEo Cuts is an occasional series that showcases reflections on cultural and media economies, written by CAMEo researchers, collaborators and affiliates. Contributions aim to be short, accessible and engage a wide audience. If you would like to propose an article for inclusion in CAMEo Cuts please email [email protected] Previous CAMEo Cuts editions, available via www.le.ac.uk/cameo Cuts #1, Mark Banks, What is Creative Justice?, June 2017 Cuts #2, Claire Squires, Publishing’s Diversity Deficit, June 2017 Cuts #3, Melissa Gregg, From Careers to Atmospheres, August 2017 Cuts #4, Julia Bennett, Crafting the Craft Economy, August 2017 Cuts #5, Richard E. Ocejo, Minding the Cool Gap: New Elites in Blue-Collar Service Work, November 2017 © CAMEo Research Institute for Cultural and Media Economies, University of Leicester, January 2018 The Business of Grime Joy White This sixth edition of CAMEo Cuts focusses on the emerging economy of Grime music. The music industry is a significant economic sector that ought to provide earning opportunities for a wide variety of young people who have the necessary skills, interests and talents. And yet, this sector has some of the lowest diversity rates in terms of ethnicity and class. By contrast, Grime, and the wider urban music economy, can offer a multiplicity of routes into the creative and cultural industries for diverse and disadvantaged groups. From its London origins, Grime has expanded regionally through the Eskimo Dance and Sidewinder events, and from Lord of the Mics MC clashes to the nascent Grime Originals events, the Grime economy has a national (UK) and international reach. -
Subject Guide
Subject Guide Black Sound AMS/2012/ PERIODICALS/31 PERIODICALS/10 Introduction Founded in 1981, Black Cultural Archives’ mission is to collect, preserve and celebrate the heritage and history of Black people in Britain. Our unparalleled and growing archive collection offers insight into the history of African and Caribbean descent in Britain and includes personal papers, organisational records, rare books, ephemera, photographs, and a small object collection. The bulk of the material is drawn from the twentieth century to the present day, while some material dates as far back as the second century. This introductory subject guide includes a list of selected sources held by the Black Cultural Archives which relate directly to this subject area, as well as material held elsewhere. This subject guide is intended to extend upon the three themes featured in the Black Sound exhibition. This guide is not intended to be an exhaustive manual to the entire subject of Black British music, but as a companion to the Black Sound exhibition. This narrative is recreated here with kind permission of Lloyd Bradley. The themes of Black Sound are as follows: Original imports: Highlighting the array of Black artists, mostly from America, who visited Britain for work from 1919 onwards, but who ended up living here. In particular we look at the one of the earliest known African clubs, the Florence Mills Social parlour DIY Culture: Symbolizing the creativity in music this section looks at the pirate radio stations of the 1960s through accessible technology that was relatively inexpensive and had massive potential audience. Pirate radio crystalised the moment the underground went overground on a massive scale.