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KEEP THE NEWS OUT OF MY TUNES
Do you want politics in your music? Should music be apolitical? Is music being hijacked by agendas antithetical to our own? Is a musical career becoming a soapbox for artists to position themselves socially in order to establish and diversify their brands?
Now more than ever I find we are having to separate the art from the artist. With Artists now becoming more and more visible and vocal outside of their music I can’t help but be bothered by their brand of politics accompanying their music, versus their views being cleverly woven into their music. Why? Because they don’t and can’t always get the politics right. But what they can get right is their music.
Musicians, producers, and DJ’s are not my go-to source for current affairs. No, music is a sanctuary from all that; turning it on to tune out of everything going on in the world. But in an unfair world where true representation of all interests and rights aren’t reflected in policy, it’s arguably necessary for those with influence to take a stance on important issues - even if it muddies the musical waters. But how can utilising influence for social good be achieved without disrupting the art?
How can utilising influence for social good be achieved without disrupting the art?
With sexual harassment cases exploding into media headlines 24/7 it’s virtually impossible to tune out of patriarchy. The tunes I used to listen to with a pinch of salt - ones with unfortunate misogynistic lyrics - now further magnify how morally bankrupt society has become. It’s impossible to even tune out of bandwagon identity politics when my favourite bangers to bump in the car are laced with marital politicking (Lemonade / 4:44).
We’re also in a commercial era where it’s demanded of musicians, artists, and creatives to share their personalities, ideas and identities on all platforms; their personal brand. The ‘old model’ if adhered to would have fans waiting to learn about their favourite singers from the content in the album sleeve or an in depth interview in a magazine, or radio/tv show. Now … with unwanted exposure (eg when ish goes down on an elevator) whole musical projects are geared toward responding to exposés to set the story straight.
I appreciate artists whose opinions and perspectives are reserved for their bars, not for twitter or publicity campaigns. In UK Artist Dave’s album ‘Game Over’, the song ‘question time’ may have reminded me of how under funded our national health service is, but it still kept me focused on his bars and the body of songs.
Personality politics now requires a constant streaming of mind flow since listeners are vacant to download 24/7. But can’t Artists choose to cull their social media and marketing communications and reserve their perspectives for their music? The music can do the talking, to leave an imprint on the listener; just like a good book. Insightful lyrics or real wisdom stays with us no matter how much time goes by.
If modern day artists resisted the demand to contribute to the current narrative and reserve their commentary to be told through their art, perhaps there’d be more journalists and opinion makers sought out, and even born. The massive influx of content online requires some checks and balances inserted into very merky content waters.
Should Artists then leave the social commentary to qualified journalists?
The time has gone for the ‘be silent’ attitude. It’s hella noisy out here and we all have a view to contribute. But music and art is our sanctuary and should be upheld in that frame. I don’t want to listen to an album and have the artists’ random snapchat or tweet rant accompanying the album listening when all I want is the music to take me out of the noise.
Keep your news out of my tunes. Your bars are for your views. Lay off the rants and reserve it for the studio. Do you agree? COMMENT BELOW/DM ON IG.
DAVE "QUESTION TIME":
ESKIBOY: A reflective and vulnerable tale of a very raw and traumatic climb.
By Serena Hussain (Editor) - An in depth review.
I’m without a doubt a Wiley fan and keen listener of UK grime Artists Skepta, Wretch 32, Kano and Ghetts. I’m not a 'grime head' and I wasn’t a 'grime kid', but I was a London kid. And as a Londoner still (the same generation and age as Wiley) I appreciate the cultural, geographical, and historical musical references in this autobiography that flesh out the origins of this genre of music which is fast becoming an 'any household' name. This book joins the dots for those who know and don’t know grime.
“Never disturb a baker when he’s mixing up the flour" Skepta lyrics from song ‘It ain’t safe’.
Wiley baked grime.
In this autobiography, Richard Kylea Cowie aka Wiley breaks down the ingredients of Grime, which has risen and still is rising.
“Grime is a rudeboy genre... but it’s not a badman genre" ... "Your bars don’t have to be bad. Your bars can’t be badder than you are. You have to be badder than your bars.”
This book reveals the early influences and incidents that made him and the genre what they are today, and by sharing his story through multiple narrators, mainly his father 'Richard Senior', sister Janaya Cowie, as well as comrades Wretch 32 and Logan Sama et al, it reads as a reflective and vulnerable tale of a very raw and traumatic climb.
Richard Senior: “I go backstage…I suddenly realise that something’s happened. They look a bit rattled… And then I look at him and see blood running down the back of his leg. He’s been cut. But he was still doing it. So when it comes to heart, I don’t think there’s too many people that have got as much heart as him.”
‘ESKIBOY’ reveals the roots of grime and in true Wiley style, the pages of his book are shared with other voices and testimonies. It avoids being indulgent as it’s told through multiple perspectives. We get short segments written by the eyes and ears from that era, from those who know the makings of Wiley, and the experimentation that went into grime.
“Back then, if you jump on the mic, you’ve got to prove who you are. You couldn’t talk nonsense, or just make something up. The bars that you were spitting were actually true. You had stories. That was really the start of MCing…”
Spitting over beats to energise crowds... grabbing the mic to tell stories and battling it out… grime has always been delivered in an energetic conversation directly with the crowd. This is how the scene was established in London since the early 2000s, with this raw but intimate interaction with the audience.
Wiley's early influences included watching his parents’ video collection of sound system clashes on repeat. He observed how the then emerging Jungle MC’s picked up elements of the style, charisma and lyricism which informed MCing. Jungle opened his eyes:
“It made us realise that our accents were allowed… (Jungle) was the kind of music that we felt could be ours, or that we could be a part of”.
Arguably the accent and slang which are the core indentifiable traits of grime have also been a barrier for the genre to be embraced globally, specifically in the U.S. With so much american influence in ‘urban’ music, a UK MC is sonically and linguistically hard to digest and embrace. Grime isn’t a copycat genre though … it’s authentic to its’ core.
Logan Sama: “He gave a voice to kids from council estates for the first time - not in an american accent”. Sama goes on to say how grime was the first genre in the UK to be born with the internet and which exploded once file sharing kicked in; adapting to changes and growing with the circumstances it found itself in. Sama explains the crazy experimental start of the genre and it being an ever-evolving organism. One with certain characters leading it and making it.
“Grime is raw … started in the city. It started in the estates… with people who didn’t really have much. We lived in one of the poorest boroughs in England”.
Wiley’s influences are Grime’s ingredients. His father Richard Senior explains how Wiley was a big part in forming those early crews. His vision organised and mobilised them, encouraging them to write ‘bars’.
“I can make a whole song from nothing, whether it’s just instruments or whether it’s sequences. We had to make something different. But my dad says he can recognise his music in what we make. He says he can hear himself. The drums are a big part of it. The snare, he always says. If you listen to any song back in the day, it’s the snare that makes it. The snare is important in grime. It’s part of our identity”.
WILEY DEALS IN MUSIC:
Flow Dan: “Wiley is strategic. He’s always had plans. He’s always had a bigger idea. Beyond the situations we were in. When Wiley started to clock on that his instrumentals had power, things changed. His beat-making started to form the scene.”
Having been on pirate radio since fourteen, he himself attributes this to the makings of 'Wiley'. From setting up Rinse FM in his living room (whilst someone hung out of the window with an aerial) to distributing white-label releases directly to niche record stores, Wiley pinpoints the very early makings of grime that began with Garage, Heartless Crew and So Solid. He calls Dizzee's “Boy in da Corner” and Kano's “Home Sweet Home” grime bibles.
Wiley explains how it started as a young black man’s punk rock. Shouting on a beat to get a reaction. But “the grime nationality is rudeboy now. And anyone can be a rudeboy... It’s a release” … “You hear people talking about the grime sound coming from another planet? Well, that’s because it does.”
Regarded as impossible to stop, he is a self confessed “grafter” and “tag-team master”. He gives us pages of lyrics from his extensive library of songs, reminding me of the 2010 Jay Z ‘Decoded' book where the U.S Rapper and Music Mogul gave contextual explanations of his lyrics and past hits. But in ‘ESKIBOY' we get a journal - deeply open and honest reflections which at times seem changeable, perhaps reflective of the person at the centre of the story, and at the centre of grime.
The Grime Man, once a Grime Boy, perhaps always a Grime Boy, is the secret to Wiley still being so relevant. His hunger and drive to propel others, and his spontaneous instagam freestyles still have our ears and hearts open.
In Wretch 32’s words, “Wiley was at the forefront” which we can appreciate made him a major target; his sister being held for ransom and the multiple near fatal attacks.
The most emotional and revealing account is what went down with Dizzee Rascal. Wiley recounts the events which led to Dizzee being attacked in Ayia Napa in 2003 and includes a personal letter addressed to him. The disconnect between both Artists is tragic in a Shakespearean sort of way since their ascendance was so intertwined and dependent on their collective talents and influence. Wiley asserts he claims no credit for the success of Dizzee Rascal but the facts are that Dizzee is one of many Wiley has helped connect the dots for.
“Pad and a good pen” is all he has ever wanted. Music is his therapy - one which has paradoxically invited the very chaos he seeks to escape from and has him finding a family life out of England.
Wiley’s DIY approach and relentless drive makes him the Godfather of grime and it's these characteristics that reflect the quality of the genre. The young MC’s he has championed are now in positions of influence and the ascendance and making of the scene reads like a training ground where he traded in a different more generous kind of currency - on the foundation of friendship and helping others. He still keeps himself connected to what snowballed the genre into life... his hunger.
“That’s where hunger comes from - the pain that I hold inside…"
This book reveals nuances absent from his past interviews. In fact, it reveals the kind of insight I seek to extract from every interview I do as Wiley tells his story in full for the first time. Wiley is flawed and refreshingly honest about it; endearingly so and without arrogance. Watch out for Godfather II - he’ll be back with another banger no doubt. Order your copy of ‘Eskiboy’.
AN EPIC FREESTYLE ... "ESKIBOY".
NEW CONTENT COMING.
REWIND ... SOMETHING LV CAPTURED EARLIER THIS YEAR. A SHORT CONVERSATION WITH NATHAN MILLER - DOC MAKER - WHO SHOT/PRODUCED/EDITED "LDN" WHICH CENTRED AROUND THE UK GRIME/RAP SCENE - SPECIFICALLY LONDON. READ/WATCH:
WHY REINVENT THE WHEEL? THIS ARTICLE IS EXTREMELY THOROUGH AND A BRILLIANT READ FOR ANYONE NEW TO GRIME OR WISHING TO DIG A LITTLE DEEPER. WATCH OUT FOR SOME EXCLUSIVE LV CONTENT DROPPING SOON.
FOR NOW ... ENJOY THIS LONG READ written by DAN HANCOX:
'Origami' sees the unlikely pairing of a monumental shipping container and a gravity-defying dancer. Inspired by the Japanese art of paper folding, this 40 minute, free performance was a breath-holding spectacle where the container gently unfurled, creating a geometric performance space where dancer Satchie Noro dangled from its' sharp corners and glided on its vertiginous edges. The container was in continuous movement. Created by Paris-based Satchie Noro and Silvain Ohl and with music by Fred Costa, Origami was an outdoor event, suitable for everyone, which has been taken place in outdoor locations. This capture is from CROYDON:
INSIGHT: KOREAN HIP-HOP | A phenomenon growing internationally and becoming recognised by 'western' hip-hop heads and influencers. Taking most of its influences from where the genre originated in the US, we spotlight a few of the Korean Artists pivotal to the movement, and its' growing global influence.
By E.N for www.lifevocabulary.com
Korean-American artist Jay Park signing with Jay-Z’s Roc Nation illustrates how globally expansive hip-hop has become, and further how heavy-hitters in the music industry are taking note, targeting a whole new demographic. Korean pop had become incredibly popular in a short period of time and now Korean hip-hop is catching up, with Korean pop idols and even US stars collaborating with Korean rappers. Jay Park:
For those who wonder ‘what Korean artists rap about?’ the answer is simple... the same issues as American artists: hardship, struggle, money, desire, parties, alcohol, and love. However, Korean hip-hop Artists have tried to retain as much of their native identity as possible through the use of cultural references and colloquialism - but an international influence with universal themes remains prominent.
The Korean language has been perceived as a complex and scientific language. The ability to establish a lyrical flow can be difficult and sounds 'too different' in comparison to the well-known sound of US hip-hop. Earlier in the 1980’s when hip-hop was truly emerging and becoming its own genre in Korea, talking as fast as possible was considered as credible rap/hip-hop. Then came an artist called Verbal Jint, one of the first to establish his own rhythmic flow which shaped the genre for the better. He focused on using his words to tell a story to ensure his raps had meaning as opposed to portraying a ‘gangster’ like façade. He married English and Korean words together in a poetic manner and broke the supposed language barrier:
Rappers who speak English more fluently have progressed slightly faster, and some of those gaining influence right now are Dok2 and The Quiett who created a hip-hop label and signed a very popular artist Beenzino. In their song ‘GA’ or 'GO' in English, these three artists pass the mic around cypher style:
Most Korean hip-hop artists are or start as underground rappers, but have quickly become mainstream. Regardless of the genre being 'foreign' to western ears, its' overall vibe is being internationally welcomed signalling a growing western audience embracing hip-hop outside of the US.
If you would like to contribute with insightful content then please head to our CONTACT page and connect with us.
KAYLEIGH MARSHALL of MARSHALL ART - This Brixton Artists' current project is called "Marshall Art 100". It’s 100 illustrations in 100 days - a true Artist's hustle in our opinion. These pieces are a part of her portfolio development, which she will handpick the best from to transform into large scale drawings and murals early next year - 2018.
"Having no classical art training, I’m putting in the graft old school to compete with other young artists. I’m working 17 hour days and putting in long stints at my desk to draw, draw, then draw some more. This project is giving me the structure to practice my style and develop my illustrative skills whilst getting instant feedback from my followers and clients as to whether the subject matter works or not. So far it has thrown we waaaaaaay out of my comfort zone. I’m drawing animals which I have NEVER done before - and I’m loving it. I have writing bumps, I’m tired and backache from the long drawing sessions, but this project has taught me so much in just over a month. By the end of the year imagine where I will be with my subject matter, style and most of all skill."
"Marshall Art 100" is not just a portfolio, it’s a record of an Artists' development over a period of 100 days. It is a digital journal; multifaceted in how it's delivered.
Kayleigh likes to raise questions through her art by creating an oxymoron - stitching two images together that wouldn’t typically be seen together. Her work in this project has taken an anatomical turn with a focus on human organs - in particular the actual form of particular veins and arteries. Her plan is to create an illustrative piece where she stitches a brain and a heart together to see what questions arise from that imagery.
All pieces in "Marshall Art 100" are one off originals and available for £100. Original pieces from an emerging talent.
EDITOR/PRODUCER SERENA HUSSAIN (AKA HUSS) TALKS TO LONDON RAPPER/ARTIST 'KASEY' ABOUT STORMZY - LONDON'S OWN GRIME SENSATION - DROPPING "4PM IN LONDON" LATE LAST NIGHT.
TO GET INVOLVED ... DM US!