3. Platforms &
Elements
I am planning on including all of these artists to illustrate what young
youth enjoy about the upbringing of grime and how it has helped them
through struggles they have had. Grime can deliberately be aimed for
young teenagers who are boys as a lot of gang crime happen nowadays
the same how crime happened back when grime was new. Riots and
crime was very active back then. Grime artists usually would rap to
forget about crime and struggles in growing up. I would publish my
products across e-magazine websites, social media apps, such as
Snapchat, Facebook, and Instagram. Articles are being released on all of
these social media links. They are active and this will influence the
audience to read my article. Snapchat will be very easy to target my
audience as young teens use Snapchat most of the time. Articles are
shown on Snapchat, recently they have been including a lot of content,
this would be a good place to release my article and everyone tends to
go to the articles sometimes. These are apps are always used via
smartphone, most youth will be able to access as everyone nowadays has
a smartphone, it could also be accessed by tablets, laptops etc. My
article will be on most social media aimed for various audiences who
understand grime music.
4. Background Research
It all began in east London (E3-E14 are the grime hotspot postcodes), in 2001.
Where south London had dubstep, the East End had grime. Grime is not hip-hop
(whatever Azealia tweeted). It is faster, rawer, smarter. Its roots are in Jamaican
ragga culture, dancehall and rave culture, rather than American rap. Hardly
anyone in the grime scene agrees on a definition but they all emphasise the speed
and the speech patterns. Most grime is played faster than hip-hop, around 140bpm,
and MCs rap like they speak, with authentic accents and slang, not to mention
references you’ll only know if you’re a true Londoner (Morley’s fried chicken). In
the last 13 years, Grime has become exactly that; a movement relocated from the
dangerous pockets of neglected East London council estates to the star-spangled
billboards of New York, LA, Paris and Tokyo. Originally set aside as a fringe
enterprise bound to the confines of police court orders, pirate radio and park-
bench polyphony, Grime is now the world’s leading cultural commodity
representing young people the world over - and yet it remains distinctly British.
Emerging from the dark underbelly of London’s early ‘00s electronic club scene,
you would be mistaken, as many have been, for referring to Grime as the UK’s
answer to American hip-hop. For one, the hyper-speed multisyllabic phrasing of
Grime rappers has much more to do with the UK jungle and garage dance raves
where MCs would wax lyrical over tempos inherently faster than that of traditional
hip-hop, treating the voice as just another percussive instrument to elevate the
dancing experience.
5. One of my other topics I want to include in my article is Professor Green and Tinchy Stryder as they
have helped youth who need talking to about life. Professor Green has paid a surprise visit to youth
homelessness charity Depaul UK to make a film for this year’s Comic Relief appeal.
The rapper, real name Stephen Manderson, spoke to young people in Greenwich who have been
affected by homelessness and received help from Depaul’s Get Up And Go programme, which is
funded via a grant from Comic Relief. The programme supports young people on their path to
independent living, training and employment via a range of creative and physical activities. The
main idea is that my article will be based on grime artists that have grown up in East London. I will
also be discussing the upbringing of grime and how it has influenced young people in East London.
Professor Green is a good example to use as he has been through drug abuse in the past.
