Plan B's music video for "ill Manors" uses various cinematic techniques to develop a genre of protest hip-hop. The urban London setting and costumes worn by the performers, such as hoodies, aim to represent the lived experiences of disenfranchised youth. Through realistic depictions of both dancing and violence, Plan B portrays the complex realities of modern British society. The video also references political issues and incorporates representations of gender and race to comment on social issues like the 2011 London riots.

1. ill Manors – Plan B
The use of genre in a chosen music
video

2. Track: ill Manors
Artist: Plan B (Ben Drew)
Genre: Hip-hop, protest
Date released: 25 March 2012
Origin: Lead single from the ‘ill Manors’
film soundtrack, also directed by Plan B
Awards: Q Award for Best Track (October
2012)

3. Aspects of
mise-en-
scene
Location
Action
Gender
Race
Costume
Lighting
Props
Actors

4. Location
Throughout the music video, the focus never changes from this thoroughly urban setting.
Features such as tower blocks, pictured here, car parks and council estates form the
backdrop of Plan B’s protest song. The run-down areas and grey landscape add to the bleak
nature of the song and help Plan B to develop the genre of hip-hop beyond an urban genre
concerned with social commentary, and more as a harsh depiction and criticism of modern
life. Also, the urban setting adds to the idea of modernity as Plan B’s particular style is very
original.
The location of London is also key in conveying the genre of Plan B’s ‘ill Manors’ for many
different reasons. Firstly, ‘ill Manors’ is largely described as a reaction to the 2011 London
riots, and the references in Plan B’s lyrics to looting, and the anger of the rioters at the
government: “What needs fixing is the system / Not shop windows down in Brixton / Riots on
the television / You can’t put us all in prison!” There are also other references to modern
issues in London such as the vast amount of money being spent on the 2012 Olympics while
little help is being given to resolve the city’s poverty.

5. Location
Being the centre of Britain’s politics, London appears the perfect place for the genre of protest
music to take place as it’s the heart of political decisions and action. Frequent images of
politicians such as David Cameron and Nick Clegg reinforce this political message and
harness the emotions of the targeted audience. In 2013, findings were published that stated
that ¼ of households in London received council tax benefit, and furthermore that London’s
benefits bill reached £36 billion in 2013 – a higher amount than the total defence budget. With
these huge problems facing the population of London, there is no doubt a lot of anger and
resentment felt towards the government. Setting this genre of music against the backdrop of
these political issues and appealing to this alienated audience through lyrics such as “We’ve
had it with you politicians / You bloody rich kids never listen / There’s no such thing as
broken Britain / We’re just bloody broke in Britain”. Psychoanalyst Lacan stated that
audiences relate to texts where they can identify the representations with aspects of
themselves and the location helps to add to this as much of Plan B’s audience may live in
London, and therefore be directly affected by the issues he raps about, or are living in a
similar setting.

6. Costume
Plan B relies on the stereotypical costume of youth throughout the video of hoodies,
tracksuits and caps. A Guardian article after the 2011 London riots described the hoodie as
“the ultimate symbol of exclusion and menace” that is now a “criminal cloak for London's
looting youth”. By dressing his actors in this universally recognisable symbol of deviant youth,
Plan B clearly roots his genre as a genre for the young people of today, and possibly has an
idealised audience in mind of other young people with similar ideals and opinions as him.
This idea is in keeping with Stuart Hall’s encoding and decoding model, whereby Plan B has
maximised on the stereotypes of youth and recognisable imagery, such as clothing, so that
audiences are more likely to identify with the performers and to give a preferred reading of
the text as opposed to an aberrant reading.
Much of the costume in the video is also used as a form of obscuring the performers’ identity,
as a direct link to the 2011 riots, through the use of hoodies, caps and bandanas across the
performers’ faces. The use of this costume helps to create a collective identity for deviant
youth, representing them as a faceless mob.

7. Costume
This largely negative portrayals of youth help Plan B to reinforce the genre of protest hip-hop
that he appears to be developing. By frequently relying on stereotypes of youth throughout
the video, Plan B is able to satirise this common perception of youth, which he states himself
in an interview. By taking the protest genre further than simply social commentary, he seeks
to satirise and question the current social situation in Britain, through exaggerating the ways
in which the general public views young people. Furthermore, Theorist Cohen suggested that
society goes through periods of moral panics and that it needs someone to blame. To
support this, Giroux described youth as an ‘empty category’, through which the media reflects
adult needs, desires and anxieties. In playing with these concepts, Plan B is able to capture
the zeitgeist of society’s fear of its own youth, while questioning the validity of this fear.
Plan B also reflects the conventions of the hip-hop genre through his choice of costume for
his performers. Tracksuits, caps, hoodies and bandanas are frequently used in music videos
in this genre, as it can be seen in the two examples below taken from Nas’ ‘Nas Is Like’ and
Dizzee Rascal’s ‘Love This Town’. Nas, an American artist, and Dizzee, a British one, illustrate
the fact that this dress is a universally recognisable symbol of the hip-hop genre.

8. Lighting, action and props
The lighting that Plan B uses through the majority of the video is bright, with a muting of
colours to sustain the greyness of the cinematography. This exposure helps to add to the
bleak, gritty realism approach that Plan B takes to this genre – emphasising the issues that he
is examining. Furthermore, this bright exposure works with the idea that Plan B is attempting
to expose the deep issues that modern British society is facing. This lighting also works in
good contrast with the darker lighting in the car park, where some youths are assaulting
some people. Plan B stated himself that his music video to ‘ill Manors’ was concerned with
“dark, true reality” and he attempts to show the darker side of British youth with the depiction
of violence and gang culture. The action within the music video is very much in keeping with
Plan B’s development of the hip-hop/social commentary genre in its adherence to realism.
The video shows a range of action on the part of the youth from dancing to looting to violent
assault. The realist approach can be seen in the combination of both of these representations
as Plan B is not denying the violent, destructive side of youth culture but simultaneously
highlights the individuality and creativeness of young people through their expressiveness in
dance.

9. Lighting, action and props
Plan B plays with the use of props throughout the video to reinforce the genre of his music
video. The modernity of the genre is represented through the use of technologies such as
mobile phones, clearly rooting the audience of the genre as a young, modern audience.
Furthermore, the girl pictured below with the mobile phone is videoing someone being
assaulted by a group of youths, possibly as a reference to the awful social phenomenon of
‘happy slapping’. By referencing key issues that young people are discussing today and the
use of social media, Plan B keeps the genre very up-to-date and relevant for his audience.
However, there are some props used within the video to depict more negative representations
of youth. Props such as baseball bats and pit-bulls add to the violent, threatening image of
young people that is so often pioneered by the media. However, this fits with the darker
elements of the genre and Plan B isn’t hiding the more brutal sides of the issues that he’s
exploring. In addition, the use of props such as cigarettes adds to the idea of deviant youth,
who Plan B is targeting.

10. Representation of gender and race
Although Plan B himself is a white artist, a large proportion of his performers in the video for ‘ill
Manors’ are black. In relation to the 2011 London riots, race was a key issue that is largely
attributed as the cause of the riots. The shooting of unarmed black teenager Mark Duggan by
police in 2011 sparked indignation as many believed that institutional racism was the cause of
his death. This was heightened by the poor handling of the case by the police concerning
contradictory witness statements and the fact that Duggan was unarmed – drawing into
question the legitimacy of the police’s decision to shoot him. Perhaps consequently, 39% of
arrested rioters in London were black, holding a majority over white involvement, possibly
because they were more angered by the causes of the 2011 riots. Dizzee Rascal, a UK rap and
grime artist, also explores the concept of youths rioting in his video for ‘Love This Town’,
pictured below, by using black performers as rioters in his video.
Furthermore, Plan B highlights the roots of hip-hop in black culture through the dance element
of his video. Break dancing which emerged in the 1980s stemmed from African American
culture and the black performers in the video cement this link to hip-hop’s origins.

11. Representation of gender and race
Plan B’s liberal attitude towards gender in his music video can be seen through the inclusion
of both male and females in his group of performers. This challenges the convention of
gender roles in the hip-hop genre, as trophies or objects to surround the male artist. Images
of hyper-sexualised women are often used to glorify the ‘gangster’ lifestyle associated with
this genre. Unlike Laura Mulvey’s study of the male gaze in mainstream genres, Plan B avoids
the objectification of women completely in his video by including them in this collective.
Despite this, the roles that women play in the video do seem to conform to other stereotypes
of women in the media. Pictured below is a girl videoing a fight on her phone, rather than
being involved in the action herself, and the theme of active men and passive women is
continued throughout the video. This reinforces the stereotype of women as bystanders, who
are too weak to be included in the action or are simply excluded. This contradicts Plan B’s
progressive style that he brings to the genre through his stance on social issues, yet his
perhaps less progressive attitude towards women becomes apparent in this video.
The focus on male youth in the video is not wholly inaccurate though, as 89% of arrested
rioters in the 2011 riots were male which is shown through the clips of rioting in the video.

12. References to other texts
Plan B uses references to the media throughout the video
to reinforce the protest genre as he is able to directly
criticise and reference key social issues and debates such
as Cameron’s alleged ‘hug a hoodie’ campaign and the
image, pictured here, of a youth making a sign of shooting
Cameron. By including these current social debates it helps
to retain audience interest and engages them directly in the
protest genre as they form their own opinions as they watch
the music video.
This idea is also in keeping with hip-hop’s long history with
social commentary – as can be seen in examples such as
Nas and Tupac – which cements the genres
simultaneously within the video.
The scene in the car park where there is a choreographed
fight scene is very similar to the break dancing scene in
Leftfield’s ‘Afrika Shox’. This track is also a development of the
hip-hop genre with the element of social criticism. However,
both videos ensure to reference the roots of their niche genre
in hip-hop culture, and appeal largely to a younger audience.