Graduate School of Social Sciences MSc Conflict Resolution and Governance Subcultures, State and Society: A Challenge to the London Grime Scene’s Socio-economic and Socio-political Circumstances A Study of Cultural Practices as Sites of Politics Author: Christy Coulson June 2017 Amsterdam Student ID: 11256923 Supervisor: dr. P.E. Polly Pallister-Wilkins Second Reader: dhr. dr. David Laws Word Count: 23889 1 2 Glossary The Met – Metropolitan Police COLP – City of London Police Scene – London-based community of actors that actively consumes and produces social and behavioural norms associated with grime music and the demographic of people that use grime music as a part of their identity in London. Grime’s socio-economic circumstances – Poverty, violence, drugs, segregation. Grime’s socio-political circumstances – Segregation, racial and aesthetic profiling, societal disregard, the harsh policing of the scene’s events. CCCS – Centre for Contemporary Cultural Studies Locked off – Shut down Acknowledgements This research and thesis would not have been possible without the educated, informative and passionate voices of those within the London grime scene. Their understandings of their own circumstances reinforced the importance of this research for me, as a researcher, and London society. I was genuinely shocked in my interactions with these people about the sophisticated manner in which these people articulated themselves and interacted with me, an outsider. It is with this knowledge that I commend my interviewees for their willingness to speak and their vast knowledge. Finally, I’d like to thank dr. Polly Pallister-Wilkins for her willingness and ability to challenge my thinking, engaging with me in both the complex and seemingly trivial issues of this research project. I’d also like to extend my gratitude to my loved ones and friends, without whose support this would not have been possible. I hope that this final product, my research project, will educate future researchers and illuminate the intricacies of the interactions between the London grime scene, the state, and society. 3 GLOSSARY 3 ABSTRACT 5 CHAPTER ONE: INTRODUCTION 6 CHAPTER TWO: LITERATURE REVIEW 13 ARTICULATION OF GRIEVANCES 14 FROM THE SOCIAL TO THE POLITICAL 17 THE DEVELOPMENT OF SUBCULTURAL THEORY 18 SUBCULTURAL CAPITAL 20 ‘AUTHENTICITY’ IN MUSIC 21 ILAN’S GRIME ASSERTIONS 22 FORM 696 AND RISK ASSESSMENT IN THE UNITED KINGDOM 24 FOUCAULT AND POLICING OF THE ABNORMAL 25 CHAPTER THREE: THEORETICAL FRAMEWORK 28 THE DISTRIBUTION OF THE SENSIBLE, AGENCY, AND STRUCTURATION THEORY 28 CHAPTER FOUR: METHODOLOGY 34 METHODS 35 SAMPLE 36 PROCESS 40 LIMITATIONS 41 CHAPTER FIVE: FINDINGS 43 DOES THE LONDON GRIME SCENE ARTICULATE GRIEVANCES? 44 BY WHAT MEANS DO THEY ARTICULATE GRIEVANCES? 52 WHAT ARE THE CATALYSTS TO GRIME’S ARTICULATIONS? 60 WHAT ARE THE OBSTACLES TO GRIME’S ARTICULATIONS? 64 IMPLICATIONS 67 CHAPTER SIX: CONCLUSIONS 68 4 Abstract This research sought to understand whether the London grime scene articulated grievances. In addition, it sought to understand how they do so. Finally, it examined any potential obstacles or catalysts to grime’s articulations. This project was undertaken to study the process from the social to the political, and point to any democratic developments we, in Britain, need to make to encompass a demographic of people that do not actively participate in formal political processes. Furthermore, this piece of work sought to understand how internal changes in a subcultures structure could affect how they are perceived by those outside said subculture. This research was conducted using a qualitative discourse analysis of 44 songs from 2004 to 2015. This was then cross-referenced with interviews with members of the grime scene and those that have been in contact with the scene over the last few years. This research found that the London grime scene articulated grievances concerning issues of poverty, segregation, violence, drugs, racial and aesthetic profiling, societal disregard, and the harsh policing of the scene’s events. Addressing these grievances will help alleviate the security threat of delinquency that is commonly associated with this demographic of people. Furthermore, the London grime scene uses lyrical content, social media platforms, protest and formal political engagement in order to articulate their grievances. Current institutionalised practices in Britain do not account for this wide repertoire of action and efforts must be made to develop our stagnant definition of democracy to align it with technological and civic advancements. This means that policymakers must be made aware of the platforms that icons of the London grime scene have. The transition into the digital age has acted as the main catalyst for grime’s articulations. Primarily, it negates artist’s reliance on record labels for exposure, hence allowing the reclamation of creative and lyrical autonomy. In addition, the internet provides a platform for the London grime scene to engage with its followers daily. This is evidence of continued politicisation, and contrasts Ilan’s assertions that commodification acts as the major obstacle to grime’s capacity and desire to be political. Furthermore, policing, not commodification, acts as grime’s greatest obstacle. An outdated link between grime and crime undermines grime’s ability to socialise and consolidate grievances. This research suggests policing resources could better be allocated elsewhere, allowing for the creative expression of grime and prudent reallocation of resources for the police. 5 Subcultures, State and Society: A Challenge to the London Grime Scene’s Socio-economic and Socio-political Circumstances A Study of Cultural Practices as Sites of Politics Chapter One: Introduction “People need to realise that people do this for fun, but it becomes something more, something big, if you let us.1” The 1950s paved the way for a plethora of African-Caribbean migrants in London.2 With them, they brought social and musical troupes that were set to dominate UK dance culture for at least the next 60 years. The most recent offspring from this long line of genres is grime. Taking influence from genres such as garage, drum ‘n’ bass, jungle and dancehall, grime’s growth and commercial success has been explosive.3 Grime is the newest genre on what music journalist 1 Cally. Personal Interview with C. Coulson, 9 April 2017. 2 Ilan, J. “’The Industry’s the New Road’: Crime, Commodification and Street Cultural Tropes in UK Urban Music,” Crime Media Culture, 8(1), 2012, 43. 3 Ibid. 6 Simon Reynolds calls “the hardcore continuum.4” Grime features MCs rapping over fast-paced garage, jungle, bashment or drum ‘n’ bass beats, differentiating itself from hip-hop which finds its musical origins in soul, funk and disco.5 A scene has developed around this new music genre, but what constitutes a scene? The term ‘scene’ was introduced into subcultural literature in 1991 by Will Straw.6 Scholars originally questioned the usefulness of such a concept as such a term designates both the effervescence of a local venue whilst simultaneously addressing the total global phenomena of the music played in venues across the world.7 Such a concept does not put enough emphasis on the local, and gives too much to the global. Straw adds that “‘Scene’ is used to circumscribe highly local clusters of activity and to give unity to practices dispersed throughout the world. It functions to designate face-to-face sociability and as a lazy synonym for globalized virtual communities of taste.8” Under this conception, the grime scene could refer to both the global total of grime listeners whilst also addressing the local grime scene in London. Straw argues the term ‘scene’ is continuously utilized for its usefulness as a label for quasi-cultural groups whose precise boundaries are invisible and malleable.9 It is anti-essentialising and can hence be employed without audiences drawing on assumptions associated with the term. Straw adds that the term scene connotes dynamism in group behavior. It recognizes the inner circles and intimacy of communities whilst addressing the fluidity of globalized urban life and identity.10 This situates it smartly in between postmodern and Centre for Contemporary Cultural Studies (CCCS) ways of thinking about subcultures, which is aligned with where I locate myself within theoretical tensions regarding subcultures in sociology and criminology. For the purpose of this research, the term ‘scene’ refers specifically to the local London community of actors that actively consumes and produces social and behavioural norms associated with grime music and the demographic of people that use grime music as a part of 4 Reynolds, S. “The Wire 300: Simon Reynolds on the Hardcore Continuum #7: Grime (And A Little Dubstep) (2005),” The Wire, February 2013, https://www.thewire.co.uk/in-writing/essays/the-wire- 300_simon-reynolds-on-the-hardcore-continuum_7_grime_anda-little-dubstep_2005_, (last accessed 27 May 2017). 5 Karon, T. "'Hip-Hop Nation' Is Exhibit A for America's Latest Cultural Revolution". Time. 22 September 2000, http://content.time.com/time/arts/article/0,8599,55635,00.html, (last accessed 27 May 2017). 6 Dedman, T. “Agency in UK Hip-hop and Grime Youth Subcultures – Peripherals and Purists,” Journal of Youth Studies, 14(5), 2011, 509. 7 Straw, W. “Scenes and Sensibilities,” Public, (22/23), 2002, 248. 8 Ibid. 9 ibid. 10 ibid. 7 their identity in London. This helps focus on the sociological, psychological and political elements of grime’s interactions with state and society. However, some contestation occurs over whether there is a grime ‘scene.’ Bennet & Peterson note that scenes are “kept in motion by a series of gigs, club nights, fairs and similar events where fans converge, communicate, and reinforce their sense of belonging to a particular scene.11” Dedman notes that much of grime musicians’ cultural creative activity occurs “within closed collective groupings, rarely in public spaces.12” Hence, Dedman contests the legitimacy of grime music as a ‘scene.’ I contest this assertion.