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Feed back

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Task 1

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See if you can match these lesser known mothers to their punk offspring.

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Heritage Lottery Fund Documentary; Grit Story still risin' from the dust

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Heritage Lottery Fund Documentary; Grit Story still risin' from the dust

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Task 2: Source (documentary)

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A new documentary tracing the roots of British grime music. Made in partnership by young MCs, poets and producers from The Midi Music Company, The Albany and Goldsmiths: University of London with funding from The Heritage Lottery Fund.

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Our Instructions
In this project, we wanted to see how the cultural circuit model might help us understand subcultures.
We have three projects for you to try out.
Look at the Buzzfeed Task and the two graphs:

http://padlet.com/l_robinson1/PPBGroup1/wish/54407542
Now Make Your Own!

http://padlet.com/l_robinson1/PPBGroup1/wish/54404668

And then feedback on this padlet:
http://padlet.com/l_robinson1/PPBGroup1/wish/54410059
1. Read the summary of the Griffiths article on folk devil responses to Columbine
2. Listen to the interview on the sources relating to Grime

(Ctrl and click x 2)

http://padlet.com/l_robinson1/PPBGroup1/wish/54401787

3. Choose two of the sources and think about the questions
Task 2:
Task 1:
Task 3:
Use this Tumblr task to think about how people use agency in the cultural circuit.

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In "The gothic folk devils strike back! Theorizing folk devi

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Our Instructions In this project, we wanted to see how the cultural circuit model might help us understand subcultures. We have three projects for you to try out. Look at the Buzzfeed Task and the two graphs: http://padlet.com/l_robinson1/PPBGroup1/wish/54407542Now Make Your Own! http://padlet.com/l_robinson1/PPBGroup1/wish/54404668 And then feedback on this padlet:http://padlet.com/l_robinson1/PPBGroup1/wish/544100591.

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Task 1

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Task 2

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Conclusion

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Task 1

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Task 1

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Task 3

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Task 2

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Grime summary, questions and bibliography

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Grime summary, questions and bibliography

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Task 2

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Heritage Lottery Fund, Funded Youth Grime Project

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Heritage Lottery Fund, Funded Youth Grime Project

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Task 2: Source (Report)

The Heritage Lottery Fund provided 25,000 pounds in funding for young people to make a documentary tracing the roots of Grime.

The Heritage Lottery Fund is a non-departmental government body accountable to parliament the Department for Culture, Media and Sport. t is responsible for the transfer of the national lottery funds to charitable causes.

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Leading names in British urban music and dub poetry - from Cleveland Watkiss to Benjamin Zephaniah - will be helping a group of young people from South East London in a project to trace the roots of 'grime' through 'garage' and other urban forms and to produce a documentary film. The project, Grit Story - Still Risin' From the Dust, has been made possible by a £25,000 grant from the Heritage Lottery Fund (HLF).

Managed and run by the Deptford-based Midi Music Company, the 15-month project will involve up to 75 young people and adults aged 13 - 25 years. They will work with Julian Henriques, Professor of Music at Goldsmiths University, and make use of its film and recorded music archives.

Among the artists involved with the project are celebrated British jazz singer Cleveland Watkiss, dub poet and author Benjamin Zephaniah and reggae artiste Joy Mack, as well as Vik Sivalingam, assistant director for the Royal Shakespeare Company's current repertory season. They are also approaching artistes such as Roots Manuva and DJ Logan Sama.

Commenting, Benjamin Zephaniah, said: "I will always support this sort of project because it involves the young people in having a voice. Though I am so called 'established' it frustrates me that the media miss out truths about our legacy."

For the Heritage Lottery Fund, Head of HLF London Sue Bowers, said: "The project has tremendous support from leading artists and industry professionals and will encourage the creation of new, original work from the young people taking part as well as helping them to acquire a range of new skills."

A core group of 12 young people will start by exploring the roots of British grime within the music industry, their own families and communities. This will lead to a series of workshops that will involve more youngsters culminating in a 'grime symposium' to be held at the Albany Theatre in Deptford on Saturday 18th April.

A film made by OOR Productions, Islington, will chart the project from research through to performances and once completed later this year will be shown in schools, colleges and arts centres. Original work created during the project, as well as a screening of the film, will be performed for Black History Month in October.

"We intend to disseminate information about the social and historic roots of grime as an art form in Britain and to raise its profile in mainstream education and the music industry," said Rachel Bennett, the project manager. "It is important to identify positive aspects of this form of music that is so often associated with crime and social problems."

The young people involved in the project have themselves identified specific topics for research including the tradition of political rebellion, the voice of the people and musical influences and styles.

Notes to editors

For almost 15 years The Midi Music Company (MMC) has been offering excellent music tuition at subsidised rates to children, young people and adults from the age of 5 years plus on a variety of programmes covering daytime and evening courses and weekend and holiday activity. MMC also delivers professional music industry advice through its membership programme where participants benefit from regular performance opportunities via live MMC showcases as well as locally based industry events. In addition to this MMC has established itself as a leader in music education for its local community, regularly co-ordinating outreach projects and partnerships with schools and like-minded arts/community organisations in its resident boroughs of Southwark, Greenwich, Lewisham and beyond.

Grime is a form of urban music that first emerged in East London in the early 2000s primarily as a development of UK garage, dancehall and hip hop genres.

Using money raised through the National Lottery, the Heritage Lottery Fund (HLF) sustains and transforms a wide range of heritage for present and future generations to take part in, learn from and enjoy. From museums, parks and historic places to archaeology, natural environment and cultural traditions, we invest in every part of our diverse heritage. HLF has supported more than 28,800 projects, allocating over £4.3billion across the UK, with over £850 million granted in London alone.

Further information

HLF Press Office, Vicky Wilford on 020 7591 6046 / 07973 401 937 or vickyw@hlf.org.uk or Phil Cooper on 07889 949 173

Rachel Bennett, Project Manager, Midi Music Company on 020 8694 6093

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Leading names in British urban music and dub poetry - from Cleveland Watkiss to Benjamin Zephaniah - will be helping a group of young people from South East London in a project to trace the roots of 'grime' through 'garage' and other urban forms and to produce a documentary film.

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Task 2: Source (video)

A recording by Grime artist JME being stopped and searched by police.

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Task 2: Source (Lyrics)

Lyrics to Grime artists JME's song 'Serious' Which talks about the stereotypes in grime and how the image of many Grime artists is fake and has been deliberately cultivated to sell records.

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Serious Lyrics: J M E / A simple music lesson, think about it / Everybody thinks to MC tough / Your lyrics must be about negative stuff / Go ravin', no one's skankin' / Turn around, I bet you

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Task 2: Source online magazine

A online youth fanzine. in this issue a young author provides some background information on Grime and its bad press, its nature, its urban British identity and the various forms it takes.

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Guardian Article: Has a Tory MP saved grime?

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Guardian Article: Has a Tory MP saved grime?

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Task 2: Source (mainstream press)

This is a British newspaper article explaining how a Conservative party MP John Whittingdale has produced a report recommending that the 696 form should be more lenient.

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John Whittingdale is the Conservative MP for Maldon and East Chelmsford, president of the Maldon District Chamber of Commerce, and a patron of the Dawn Sailing Barge Trust: he seems like an unlikely occupant of the role of saviour of British music. But as chair of the House of Commons' cross-party Culture, Media and Sport Committee, he is responsible for a new report that could help free live music from the bondage of excessive bureaucracy and police interference.

The committee's "post-legislative scrutiny" of the 2003 Licensing Act began last summer; its findings, quietly made public at 12.01am last night, are heartening reading for music fans. The committee heard expert witness testimony drawn from everyone from Feargal Sharkey (former Undertones singer and now CEO of UK Music), to Peter Stringfellow, to the secretary of the Association of Circus Proprietors of Great Britain. Whittingdale's team concluded that live music in the UK is being suffocated by paperwork, with even the smallest of performances encumbered by "draconian" and "absurd" restrictions.

To remedy this, the report recommends that venues with a capacity of less than 200 be exempted from needing a license for live music; it also recommends reintroducing the "two in a bar" exemption, whereby venues of any kind can host one or two musicians playing unamplified music: any time, anywhere, without having to apply in triplicate six months in advance, without needing to enclose copies of the musicians' dental records.

One unintended - though no less sinister - ramification of the 2003 Licensing Act was that it bolstered the Metropolitan Police's egregious and unnecessary use of "Form 696", a risk assessment form that has become instrumental in shutting down grime and garage nights, as I discovered in an investigation for the Guardian earlier this year. Upon hearing Sharkey's evidence on Form 696, Whittingdale's committee were convinced that: "Police authorities are taking an increasingly authoritarian approach, especially the Metropolitan Police ... The report concludes that Form 696 goes beyond the Act and its guidance to impose unreasonable conditions on events and recommends that it should be scrapped."

Since I wrote the piece in January, Form 696's use as an instrument of injustice has only got worse: Project Urban, a major event slated to happen at indigO2 on 3 May, was deemed a "high risk" event by the authorities and cancelled with only weeks to go. The promoters' story bears reading in full - they had booked an all-star cast of performers, headlined by Wiley and Tinchy Stryder, forked out for tens of thousands of flyers and a cross-media advertising campaign, and were offering to put on £4,500 worth of airport-style security to assuage any safety concerns. So why was it cancelled? According to Project Urban's promoters, the only concrete reason for it being a "high risk" event was some missing data from their 696 form: "The only reason the event was 'high risk' was due to an administrative error regarding a missing date of birth for two artists. There was plenty of time to resubmit the form (it requires 14 days' notice), but the venue had already taken the decision upon themselves to cancel, and inform all ticket-holders."

It's bureaucracy as a weapon: it's blunt, stupid, and pretty terrifying. Following the committee's recommendations that live-music licensing be liberalised without delay, it is now up to the Andy Burnham MP, Secretary of State for Culture, Media and Sport, to act. Let's see if he can become as much of a hero to fans of live music as the president of the Maldon District Chamber of Commerce.
Topics

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John Whittingdale is the Conservative MP for Maldon and East Chelmsford, president of the Maldon District Chamber of Commerce, and a patron of the Dawn Sailing Barge Trust: he seems like an unlikely occupant of the role of saviour of British music.

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Article by Sunny Hundal: This will stop the music 

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Article by Sunny Hundal: This will stop the music 

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Task 2: Mainstream Press

Another article by the Guardian that gives some background on the 696 form whilst highlighting the way in which ethnic minorities are targeted by the form and unfairly treated.

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In a recently introduced piece of bureaucracy, the Metropolitan police have started requiring live event producers across London to fill in the innocuous sounding "Form 696".

Here's the catch: it requires four pages of information from event organisers 14 days before it takes place. If you need to make last-minute changes - tough luck, the event can't go ahead. The Met police not only want to know the type of music to be played, but also names, aliases, phone numbers and addresses of performers. It will not only make putting on live bands very difficult for small venues, but also spell the end of impromptu open mic sessions.

This latest incarnation of police bureaucracy hasn't come out of nowhere. It even asks event promoters to provide details of their target audience, a further sign of the way it's been racialising music across London for a while.

I was, until recently, a regular at a monthly club night before the police suddenly started strictly enforcing ID checks. This wasn't merely to ensure I was above the required 18 years of age. Not only was everyone required to provide visual identification, but they also had to be logged in a computer database - otherwise none of us could go in. Everyone's driving licences were scanned through a machine and recorded on a computer, with no indication of how long the police would store the information for.

When I objected, the (white) club promoter was quite frank with me. He said the police had said they were "concerned" that the venue played "black and Asian music" and hence wanted added security. Any sort of trouble is extremely rare at this night. Yet their reasoning was that if any fight broke out, they could track everyone at the event if necessary.

Form 696 explicitly singles out musical styles such as R&B, bashment, garage or styles including MCs/DJs as examples of genres that have to be stated if put on. It also required event producers to state the likely racial profile of people attending. When accusations of racial profiling were inevitably raised by the music industry, the Met changed the wording to ask who it was targeted at.

One London council has already invoked prevention of terrorism in its licensing guidelines for live events.

Will people speak out only when live event-goers are asked for fingerprints and retina scans - all maintained on a database for "their own security"?

UK Music chief Feargal Sharkey recently told a Commons select committee that this policy had already been used to pull the plug on an afternoon charity concert of school bands in a public park, organised by a local councillor: "Live music is now a threat to the prevention of terrorism."

As Martin Rawlings, director of the Pub and Beer Association, rightly told a newspaper a couple of months ago:

"I know of licensees faced with this saying they are just not going to put live music on. Form 696 is being used only in London so far, but there are similar things going on around the country, where the police are asking publicans to sign various protocols. It has gone too far, frankly."

It has. You can sign the No 10 petition; write to your MP about it; or join the Facebook group.

Save live events, oppose police authoritarianism! You know it makes sense.
The Convention on Modern Liberty will begin in London on Saturday 28 February at 9.45am at the Institute of Education, 20 Bedford Way London WC1. Other sessions, with live screenings from London, will take place at Trinity Centre, Trinity Rd, Bristol; Student Council Chamber, Oxford Road, Manchester University; Cambridge Union, Bridge Street, Cambridge; Institute of Advanced Studies, University of Strathclyde, Montrose Street, Glasgow; Peter Froggatt Centre, Queen's University, Belfast.The venue in Cardiff is yet to be confirmed. For information and to buy tickets at £35 (concession £20), please visit: modernliberty.net Topics

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Sunny Hundal: Did you know ... live music events could pose a terrorist threat?

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In a recently introduced piece of bureaucracy, the Metropolitan police have started requiring live event producers across London to fill in the innocuous sounding "Form 696". Here's the catch: it requires four pages of information from event organisers 14 days before it takes place.

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Grime Forum thread on 'Form 696: The Police VS Grime Music 

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Grime Forum thread on 'Form 696: The Police VS Grime Music 

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Task 2: Source (online forum)

(http://www.grimeforum.com/forum/showthread.php?138368-Noisey-Form-696-The-Police-VS-Grime-Music-Hosted-by-JME-(Trailer)

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The best forum for UK Grime on the internet. Discuss & get info on artists/producers/CDs/Radio etc., get new free legal downloads and more!

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Task 2: Source (documentary)

A documentary about the controversial 696 form and its effects on Grime artists and their events. Presented by the Grime artists themselves with interviews from DJs and lawyers.

The 696 form is a risk assessment document for events across the twenty one London boroughs, which was produced in 2008 to 'minimise any risk of serious violent crime.'

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Noisey Specials - VICE Video: Documentaries, Films, News Videos

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Videos from Check Out Behind The Scenes Footage, Making-of Videos, Intimate Interviews, And One-of-a-kind Performances.