Written by Christivie Manga
BLAM UK ignited a dynamic celebration of Black British culture and Black Joy at our recent event, and let’s just say, we absolutely nailed it! The energy was electric, the atmosphere was nothing short of LIT. BLAM UK stepped up to the plate and delivered an event that resonated with the vibrant essence of Black culture and the power of Black Joy.
Missed out on the BLAM UK event? No worries, we’ve got you covered! Our latest blog is your ticket to catching up on all the exciting highlights you might have missed. From the soulful rhythms of Black British music to the linguistic richness of Black British English. Don’t let FOMO get the best of you – dive into our blog to relive a brief experience and join us in embracing the beauty of this cultural celebration of BLACK JOY!
Black British Music
Music is often seen as an expression of identity, and that is no different for Black British people. For decades, Black British music has shaped British culture and provided a sense of unity for Black British people.
Throughout the decades, music has provided a sense of belonging for Black British people. It has created a space for expression often when society does not want to listen or does not naturally offer a safe environment to do so. The expansion of social media and streaming services has been an asset in bringing Black British music to the limelight and achieving its global recognition.
A common and crucial theme when considering Black British music is the concept of identity. Music has been used as a means to connect with and pay homage to our Black British stories, as well as offering context to the Black experience.
Black music has always been a vibe . Thus the impact of Black music has been undiable. A huge influence on popular British culture, Black British music has permeated fashion, language, musical rhythms, a variety of genres and television!.
This influence extends to Black British Television. Artists and directors such as Steve Mcqueen have used music to enhance storytelling and emphasise cultural significance. For instance the creative use of Black British music in Blue’s Story created a new way of connecting music and TV.
The interconnectedness between Black American and Black British music has also been significant. The MOBO awards is a great example of this cultural crossover which featured a variety of Black American artists performing alongside Black British artist. Did you know that the song “Angel of Mine” by Monica was actually a cover of an original song by the band Eternal?
Black women have made amazing strides in music today! The music industry has previously been known to be notoriously sexist, but women such as Ms Banks, Little Simz, Bree Runway and more have broken barriers in a variety of genres. It’s incredible to see what Black women have overcome and excelling in industries and genres they were told they couldn’t be a part of.
Having a visual representation of Brotherhood is truly empowering and essential in countering the negative narratives perpetuated by the media about Black men. Celebrating groups like NSG, Westrn, and Krept and Konan highlights their powerful demonstration of unity and love among the mandem. In a world where anti-Black stereotypes prevail, showcasing warm, affirming examples of brotherhood showcases the strength and resilience of Black men. It’s a reminder that boys need love too, and by embracing and celebrating such representations, we can foster a more inclusive and compassionate society for everyone.
Let’s dive into more Black British music genres…
Jungle music
Uniquely British and developed the very popular Black British rave scene in the 1990s. Grown from reggae, but digitised and would usually have samples of reggae songs. Samples are parts of a different original song used in another original song. Jungle came before Drum n Bass (D’n’B) which emerged in the mid-1990s. Jungle has influenced many genres, especially one called ELECTRONIC DANCE MUSIC (EDM).
UK Garage
UK garage is another popular and chart hitting genre of the Black British sound. Emerging at the end of the 1990s, UK garage is a take on American garage. UK Garage made stars like Craig David, Ms Dynamite and Lisa Maffia. It emerged much like Jungle music as a response to the popularity of American hip-hop. Black Brits wanted to create a unique British sound that recognised different Black experiences in Britain.
Funky House
Jodie Aysha, 28, from Leeds, was just 14 when she penned the hit, which is about her heartbroken older sister. The song peaked at number two after being beaten to the top spot by Leona Lewis’ warbling Bleeding Love. It spent 46 weeks in the UK Top 40 Singles Chart and became the most requested tune ever on BBC Radio 1 Extra. Jodie didn’t receive any royalties from the song, which is believed to have banked six-figure profits, and she was also not paid for appearing in the promotional video. Exploitation of Black musicians has unfortunately been a recurring issue in the music industry. This trend has persisted over the years, echoing similar cases that have affected artists like IVD and TLC as far back as the 90s. These instances shed light on the challenges that Black musicians often face, ranging from unfair contracts and insufficient compensation to lack of creative control and exploitation by those in power. It’s crucial to recognize these patterns, advocate for artists’ rights, and work towards a more equitable and just music industry that values and respects the contributions of Black musicians. After a lengthy court case, Jodie won her share of the royalties in 2013
Grime
Emerged in the early 2000s (‘The Noughties’) from East London. It was a moment when UK Rap found it’s voice separate to that of US Rap. Grime includes Black British experiences of estate living and growing up in the ends. Grime, originally an underground music movement, emerged as a response to the commercialization of mainstream music that often overlooked the experiences and perspectives of Black people. As artists began creating music tailored for radio play, they sometimes veered away from addressing the realities faced by Black communities. Grime, on the other hand, became a platform for artists to authentically express their lived experiences, addressing social issues, systemic challenges, and their cultural identity. It served as a voice for Black individuals, providing a space to share narratives that were often unheard in mainstream music. Over time, Grime has grown to gain recognition and respect on a broader scale, reflecting not only the evolution of the genre but also the increasing acknowledgment of the importance of diverse voices in music.
Although Grime is considered a male dominated genre, Grime squads also made room for women and still do! Women MC’s such as Shystie and NoLay were a part of Grime squads back in the early 2000’s and are very much the OG Queens of Grime.
UK Rap Now
British Rappers have always hopped on old-school West/East Coast beats, as the states have clearly had a great deal of influence on the British hip-hop scene. The beat for “Talkin the Hardest” by Giggs was made by Dr Dre and was intended for Atlanta-based rapper Stat Quo on his shelved track “Here We Go.” Nines also took the beat from “My Buddy” by G-Unit for his track “AJ’d Out.” However, at the time, British rappers hopped on these beats out of necessity, as the British rap scene was not nearly as saturated with producers as it is today.
Afro-Swing
Afroswing (or afrobashment) is a recent British genre that developed in the mid-2010s from afrobeats and dancehall, influenced by UK hip hop and rap – a fusion of previous Black British music genres with African and Afro-Caribbean sounds. The creation of this melodic genre was influenced by the increase in Black British artists embracing their African heritage, unifying both parts of their identity. The Grammy Award-winning music producer Jae5 has been instrumental in the growth of afroswing, and Black British music as a whole, having worked with various artists such as NSG, Dave, Skepta and Headie One.
J Hus The Afro-Swing KING! A Gambian-British artist hailing from Stratford, London, has undeniably earned his crown as the King of Afroswing! With his unique blend of African and British influences, J Hus has become a standout figure in the Black British music scene. His infectious beats, smooth melodies, and charismatic flow have garnered widespread acclaim and a massive following. Collaborating with global superstars like Drake has further solidified his position as a prominent force in the industry. J Hus’s ability to seamlessly merge cultures through his music has not only resonated with audiences worldwide but also played a significant role in popularizing Afroswing as a genre.
His talent, authenticity, and pride in his Gambian heritage have made him an inspirational figure for aspiring artists and a true representation of the cultural richness found in London’s diverse music.
Black British Party Scene
Black British party scene has indeed functioned as an act of resistance since its inception. It has served as a powerful platform for expressing cultural identity, reclaiming spaces, and challenging societal norms. By creating their own spaces for celebration and expression, Black individuals and communities have been able to resist marginalization, discrimination, and cultural erasure. These parties have played a crucial role in fostering a sense of belonging, unity, and pride among Black Britons, while also promoting visibility and solidarity. In the face of historical and contemporary challenges, the Black British party scene continues to serve as a form of resistance that celebrates cultural heritage and empowers individuals and communities.
During the Windrush era, Black individuals who came to London from the Caribbean faced racism, leading them to distance themselves from the British nightlife. In response, they established their own vibrant nocturnal culture, spanning from Shubz gatherings to intimate house parties.
The term “shubz” has its origins in Jamaican Patois, where “shub up” means to move quickly or dance vigorously. Over time, the term evolved to refer to the events themselves, where people gather to enjoy music, dance, and socialize. Shubz events are often seen as a means of cultural expression, a way to connect with one’s roots, and a response to exclusion from mainstream nightlife during periods of racial tension and discrimination. Also a shortened version of Sheebeen. In the 1980s, you could get into a house party in north London for just 50 pence. Inside, you’d knock back drinks – no hard liquor, just Babycham and Cherry B – listen to blues and Lovers Rock, a genre of reggae specific to London. Today, this tradition continues as Black communities continue to shape the global party scene. International sensations like Recess, DLT, and Dankie Sounds exemplify this impactful legacy!
Black British English
BLACK BRITISH ENGLISH IS A LANGUAGE!
Linguists identify ‘‘standard’’ languages as political constructs, having little to do with the inherent linguistic structure of any given language, as all languages are in fact created by humans for the purpose of communication, there cannot be an inherent form of language supremacy.
Did you know ?
The majority of Black British English stems from Jamaican Patois. Black British English also have influences from AAVE, Nigerian Pidgin and BBE Words. Black British English is a creole language. This means that it is a combination of both African & Caribbean languages and modern English. Patios, Nigerian Pidgin. Jamaican Creole in particular – also known as ´Patois´- has become the dominant Creole spoken within the British African Caribbean community, since about 60% of African Caribbean migrants were Jamaican. BBE is a form of resistance to English Imperialism and domination! Like other forms of imperialism, English language imperialism threatens the survival and development of indigenous languages of former colonies and the communities in the diaspora. It diminishes the use and value of minority languages and completely displaces them (Shannon, 1995). Linguistic imperialism privileges given to specific languages lead to inequality among languages. Speakers of dominant languages tend to have advantages in education, employment, and social status, while speakers of minority languages tend to be disadvantaged in those settings.
Anti-Black Linguistic Racism:
Rusty Barrett reminds us that ‘prejudice against speakers of undervalued languages often comes with arguments that only the standard language is able to express nuanced meanings, encode logical thought, or produce good writing. Yet these beliefs have no a valid basis in linguistic facts. All languages are capable of expressing nuanced or subtle distinctions in meaning.’ The practice of policing and shunning Black languages is known as Anti-Black Linguistic Racism. Dr April baker Bell coined this term and explains it as the following- Anti-black linguistic racism refers to the linguistic violence, persecution, dehumanization, and marginalization that Black Language (BL) speakers endure when using their language in schools and everyday life. It includes teachers’ silencing, correcting, and policing students when they communicate in BL. It is the belief that there is something inherently wrong with BL; therefore, it should be eradicated. It is denying Black students the right to use their native language as a linguistic resource during their language and literacy learning. It is requiring that Black students reject their language and culture to acquire White Mainstream English(WME), and it is also insisting that Black students code-switch to avoid discrimination
Black History Month Event!
Mark your calendars for October because our next event is just around the corner! Get ready to celebrate Black History Month in style as we invite you to join us for an unforgettable Black music event. From the techno rhythms that have shaped generations to the amapiano beats that are making waves today, we’ve got it all covered. Prepare yourself for a night of Black vibrancy, musical excellence, and a celebration of Global Black Music. Stay tuned for more details, TICKETS OUT SOON!
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