Month: August 2016

JASMINE (PLAYING NICELY) WITH GIGGS.

Giggs – LANDLORD

Giggs latest album ‘The Landlord’ shows that in less than a decade, he has grown into an artist that’s much more at home with his celebrity than he was in 2008 at his musical debut. A man much more comfortable with the pressures of leadership and knowing his place in the music scene (rap really needs this album!) also as a leader, musician, comedian, father, friend, family-man, lover and more.

He reveals he’s leant lessons about keeping his friendship circle small, (Whippin Excursion), keeping his personal life private, and like any true king emcee – warning off the pretenders, haters and wannabees.

Yet whilst life has changed for the better, Giggs’ past experiences and memories still haunt his newer suburban dream-home lifestyle, as he highlights in the single The Blow Back; ‘’mans living that life, popped to the shop in pajamas…‘’just jumped outta bed, heard a knock from the gardeners, said no not today, what’s good, but you alarmed us’’.

On The Landlord Giggs lyrical flow can’t be pinned down. One minute he’s laidback, 2-step rhyming, spitting humour, the next he’s intense with high-pitched strained questions, then next dark ominous, eerie, foreboding stories as well as opening up – literally – about sex, love and relationships. This body of work has it all and really shows Giggs is learning, developing and growing as a street poet with authority faster than most. He’s certainly more fully rounded with extra poise in his many roles.

The intro is reminiscent of the classic Jay Z intro for Izzo (H.O.V.A) ‘’ Thanks for coming out tonight. You could’ve been anywhere in the world, but you’re here with me. I appreciate that’’. It also politely reminds us to ‘’stop assuming’’ we know about his life, his past and his mindset.

On The Landlord it feels like Giggs is having fun experimenting with his style and content without pressure of a record label breathing down his neck. A ‘’nothing too deep just let’s have some fun in the studio’’ vibe.

After a tumultuous start to our early music industry relationship a few years back, after which a chat over lunch and apologies were swapped, this past week Giggs and I shared an hour’s conversation, which I wish had been recorded for a podcast instead, as he was so entertaining and deep. Juggling his kids, new born baby sleeping patterns, literally holding the baby and cooing whilst chatting, he proved he was the perfect conversationalist, daddy and multi-tasker.

ALBUM
Congrats on the Landlords nNo.2 album chart position…. Has it exceeded all your expectations?

Every time I’ve made an album I’ve thought its sick. If I’m really honest, it’s my fourth album and I think all the past should’ve done that well too. What’s really making me happy is people rolling in their cars to the music, it’s sick! The buzz out there, ‘its the hardest, its sick!’….-that means more than anything to hear all that and those comments have me buzzing, its mental!. This is why you do what you do. When you first write lyrics at home and you think you could do this, the first thing that you want is for people to say this is sick! You don’t think about riches and chart positions. So I’m happy.

My favourite tracks so far on the album are Lock Doh (featuring Donaeo) and The Best. However in JUST SWERVIN you sound emotional, which is nice because we see a different side to you. You sound vulnerable and reveal what it feels like to be low, lonely and losing friends. It’s important to highlight this realness in an age where young men under pressure are really suffering with mental health issues. Tell us about that, letting your harder persona take a back seat and being okay to open up about being just human?

I’ve always have vulnerable, emotional real shit. Its about balance. I like to always have two or three deep songs…I never write at all…. I just smoke, have a drink…the beat talks to me… there’s different ways of being lonely…when I had beef and madness years ago I felt alone. When people are trying to kill you, but at heart you’re a good person its lonely. I never asked to be a gang banger…I was actually a good kid…I used to work with disabled people a carer/support worker role…I looked after a brother for about a year….I was a Peckham boy from when I was 14. I didn’t get into that life to be a G, it was a necessity. We didn’t have money in the house. I didn’t want to bother my mum for money, like an impressionable kid thinks I thought ‘’if I steal my own shit I will make it easier on my mum…ut then other things came with that lifestyle, not just stealing clothes. I then got caught up in fighting other gangs, and then that becomes a part of your life. Then I tried to work, that’s how I became a carer cos my mum worked there. I was paying off my Punto car. Man would hate on me cos I had a car!?. People were tryna to kill me?, I don’t think I’m a superhero but I don’t fear anyone. I was going back n forth, then people were looking at me like a boss. I was like (the character) Knockout Ned in (the film) City of Gods.

I came out of jail in 2004 and saw Adulthood and the character in Adulthood was very similar to me, when he got out of jail and trying not to get into any trouble. the streets were worse than ever since I had been away and also I’m the oldest sibling, watching my brothers go through stuff too so its always been a lonely journey.

I’ve walked away from the streets now. I’m on another planet now. Now I see things completely differently. I just know you don’t have to go through certain things….I understand though that when you’re down there and younger, its different. If peeps can see Giggs from Peckham can make it then it’s closer to them to see there is another life choice out there too for them. It’s not like as being so far detached to success like someone like Jay Z.
The way I see things now is completely different, some of the people I used to be around still see things like that, so I’ve always been a loner.

Your song THE PROCESS narrates the story about many typical relationships: the meeting, the dating, the loving, the first arguments over jealously and ultimately the split or not to split annoyances. You’ve become quite the sex symbol lol.

(laughs) If you listen to The Process it starts with me seeing a girl, with good posture, I chat to her, I get a drink, that’s my girl, she passes the test, she’s cooking brekky, then my phone rings and someone calls and she’s like suspicious and questions ‘’who’s that?’. Then it’s your first argument, you might break up with her. It’s like a vicious circle, the same process each time. It’s the relationship processes from my perspective. A female should make a process reply / response….lol!

On your track THE BEST you feature Liverpool’s Aystar – how do you connect with up n coming new talent?

My son is like the A&R in my house, he’s like me.He’s 14, and he listens to whoevers got talent. I’m older, he is younger than me, I can’t keep up with what’s out there all the time, and my son keeps me up to date. I was listening to this Liverpool stuff thinking this accent is hot, then someone on twitter put me onto Aystar, and then I got him on the album. I shouted at him via twitter. I try and make everyone eat.

Your debut album –Walk in da Park- was 8 years ago- what have you learnt since then?

Mainly I learnt that business is business. I treat the music game the same as I treated the drug game years ago. I’m on point now. The music game is 60% easier than the drug game and I’m not ducking the police daily. I used to rise at 7am, bag up, take my son to school, and you’re paranoid the whole time. You find a trap house, bag up, come out, you’ve got all your food on you, and you got to meet people on time without being bait. In this here music game you’re using way less brainpower cos you’re not ducking the police all the time.

Having said that, although I’m a music star now, they still make me feel like a criminal. When I was first on Westwood’s show years ago, I took another young guy with music potential with me and the police ended up kicking off his mums door at home! I made him a part of SN1 to help start his music career. Then the next thing his mum was asking ‘’who’s this Giggs person!?’’. All I’ve done is try and do something positive to try and take him off the streets, but the way it looks is that when he was gang banging his door wasn’t coming off. Now he’s trying to do music his doors off. He then ended up in CAT D prison, he made a song whilst there, so I put him on the new SN1 mix tape. On his day visits outside prison he didn’t even come out and see family cos he was so dedicated to making his music tracks as it’s a new, different lifeline for him. But as he ‘’associated’’ with us, on his return they sent him back to a CAT C prison! They accused him of still being ‘gang affiliated’. They kicked him out of a CAT D into CAT C prison for associated with a music company?

It’s a struggle, so much misconception surrounds rap music. Your music has always portrayed the pain and grind stories of working class inner city youth, but now you’ve moved to the suburbs what’s inspiring your music?

The first song on the album with Stormzy (The Blow Back), the beat is as greasy as ever, but its not that dark n grimy, but I guess the delivery makes it sounds sinister…(recites and raps the track)…- I’m talking about what’s happening now…with my new life, my gardener…yes! I really have a gardener now! I couldn’t go to the shops in PJ’s before, in Peckham I had to be ready for war at all times. Now I’m peaceful. I’m happy to roll to my local shops in pj’s. I happy to rap about the good life and the struggle.

Do you tend to work with the same producers and mixers that you started out with…who’s Giggs dream studio team?

Dirty Saj, Dennis the engineer, Dukus the mixer, I’ve had the same team from early days, my Unit 10 man dem.

Speaking of your team, your manager Buck gets lots of name checks on the album and has been riding with you from day one. What do you think he saw in you that was a sure fire winner? And what’s the one moment that stands out for you working alongside each other?

With Buck its always a moment. The way he handles shit is great. I wonder if he’s done this in another life, cos he doesn’t just randomly jump at stuff. He’s careful and not driven just by money. When we had a PR he would say ‘I don’t want Giggs in the paper for no reason’. I know that he gets lot of his knowledge from Jay Z albums. Backin the days when it was D Block VS Rocafella , Buck used to Rocafella and I used to be D Block. Buck would say to me ‘you gotta listen to Jay Z more cos you two are THE SAME minded!’.

How much input do you have with your videos? Do you insist on a dark, grimy vibe?

When I make a song, I see the video in your head before the video treatments even come in.
I direct the whole thing. When I was at XL (record label), I would clash with them cos I would want one thing, they would want another. My peeps would approach me and say ‘your videos are shit man’. Take ‘’Look what the cat dragged in’’….it was a straight forward video. It’s meant to be funny. XL were saying it can’t be funny…you’re meant to be gangsta. So it came out shit. It was crap.

Wow, stereotypes that the rest of the world wants stars to live up to are ridiculous. Shortly after The Landlord was released you tweeted that you cant sleep cos you need to put on a London show and celebrate with your fans and you can’t – explain?

It’s the usual live shows problem for me in London. The police. What they think I’m about. Etc etc nothing’s changed there really.

The Landlord also includes stories about navigating the music industry. You have lived life as a music star both with and without a label. How much pressure is it being on a label and is it harder actually getting things done? Does your music then end up taking second place?

Yes, being at a label was pressure, as in; I didn’t wanna let people down and flop. It didn’t affect the music as such, but it affected the energy and energy is important. You need positive energy around you to make music. I mean, I brought a house from that deal so I was positive but stressed too. I’m a leader. I like things done the way I like it, so I realised that I cant be with a label. No disrespect to XL, I love them like family, but I learnt that you can’t mix business with pleasure. Since I’ve been doing my own thing I’ve been moving mad. The whole campaign around this album is just me, Buck, Trent and Raye. ….(Trenton and Raye between them have looked after a multitude of music legends from Goldie to Amy Winehouse)

What is it about your musical generation that has made things happen without record labels and big budgets?

We’ve been building the foundation for years. We built the house, we learnt, grew and watched and now its time to take it and live in it. A lot of man sold out, lets be honest (LAUGHS), but it helped the rest of us.

Some of your tracks have a slight west coast sound …how much do American sounds influence your music?

American sounds influence me but only in a sense that them man are going hard! Which means I gotta go hard. I think I’m the hardest! When I go in and hear American rap, I say Drake made a hard album so I gotta make a harder one. I always inspired by great music. In fact, I wish Skeptas ‘’It aint safe’’ track was mine! Skepta had 3 bangers all at the same time and I told him I’m coming!

Your songs use a lot of very UK Street slanguage. Should we have a Giggs Urban Dictionary so that international fans can understand everything you say?

The beauty of it is some of it is that you’re not meant to understand it all. It’s called a code for a reason; it’s your job as a listener or fan to decode it. That’s the fun part of it.

Your musical career has now seen you fly around the globe to perform live, what’s been your best, most breath-taking memory?

There are so many different memories from all over the world. I loved Nigeria, it wasn’t a show, it was a mansion party-like an old skool house party, runnin riddems, smoking, drinking, it was sick.

SOCIAL BUTTERFLY

You’re known by all the other UK hip-hop and grime acts as the one that brings them together for socials. Have u always been the social organiser and party planner?

I’ve always been like that – we get the whole hood together and have BBQ’s etc. I like to say ‘lets all be one & celebrate life!’ Also I know a lot of man are going through what I’m going through, so its like a boys / mans club for the artists. Everyone has a big house but no-ones coming round. I’ll go to (Tinchy) Stryders house or Chips house. It’s fun.

Kano revealed that you all teased him about his Radio 1 Fire in the Booth (Charlie Sloth) so much that you all strong armed him into doing one…

LOLOL It was my dinner, he thought I set him up, but its all jokes…. But when he did it, its f***ing nine minutes long!…LOL us lot are always beefing….see Wretch, Kane , Ghetts , Skepta, they all think they’re the hardest, so its always jokes with us all throwing digs at each other. I was wearing a Christmas jumper for our get together last year!

You love to mingle, hang out, debate and are clearly very sociable, so then why is it, that you say that you are so miserable, and why do u like being known as the miserable one?

I’m always moaning. People say that about me, that’s why Kano and me get on so well, he’s a moany brother too!

As well as your other musical peers, DJ’s are the ones that are often the cornerstone of musical hip hop culture. Who are the DJ’s that you love and have championed you most? Do you have a favourite?

It’s not really a competition, Westwood has done what he’s done and Charlie and Semtex continue to do stuff. I was grateful when I was banned from the radio and Westwood did Cribs Sessions to accommodate me but Charlie’s Fire in the Booth is huge too….

QUICK FIRE QS
What’s your earliest London memory?

As a kid, I knew it for window-shopping; Trocerdero in Piccadilly was the spot for getting girls phone numbers. That was my first memory of London.

What is The Landlord’s fave London spot to eat?

Can’t say or I wont be able to go there anymore.

1st London spot you visit when flying home off tour that you cant do without?

Ditto as per above.

Landlord’s run homes, but what if your reach was broader, what would you do if you were Mayor of London for the day?

I would put money put into youth clubs and into every hood area adventure playgrounds, where kids can go. I would also put lots of cameras and regular police patrols so that there’s no problems. I would pay for fun stuff for the kids to get involved with like games and studios. No one cares about the youth now.

Who do you call when you want to have fun?

My bredrin or my brothers.

If you were the landlord of south London, what would you promote about Peckham?

Even though it’s gentrified today its still sticky, it’s like spilling pineapple juice on the floor and then just wiping a tissue over it. It looks clean, but its not. Underneath the gentrification it’s still a jungle, I love Peckham and the people and I want more for them.

If there was one person you could say thank you to whom would it be and why?

God. He guides me all the time.

If there was one-person you could say sorry to whom would it be and why?

Loads of people. I’ve said sorry to you. LOL

The ladies love them some Giggs, but what’s the most romantic thing someone’s ever done for you?

Can’t say cos I don’t wanna start any trouble. I guess though in all seriousness, the most romantic thing is for someone to just be there.

Finally, Who’s your hero?

I don’t really look at life like that. (BUT WHEN PUSHED HE SAYS…)…. But Wiley can be a hero, cos when I was on the street and stuff, he would be on me to pursue this music career. I would be ‘’who’s this weirdo who keeps ringing me?”, in my world back then, people didn’t do that, he just wanted to help me and that’s I why I try and help a lot of youths’’

What Giggs manager Buck says about his relationship with Giggs.

Giggs and I went school together, he was in my older brothers year, so it’s a family thing…. what I saw in him was his obsession for hard work, he loves music, he moved prisons just so he could send me music.

I think the thing he’s learnt most over the past few years is to be comfortable with who he was naturally, initially he was reluctant to be himself, he’s always been a joker, a giggler, family man, cracking jokes, he’s actually a really nice guy and means no one harm.
That’s why I was able to reach out to you in your MTV days when you both had that misunderstanding cos I could see your and his point of view, it was all just miscommunication!

In his XL- record label era, Giggs felt under pressure, to not let people down who had pumped money into him…
Towards end of the label deal, we were always independent, but there were more & more people to get stuff ticked off with and run past. There were numerous opinions and they were all confusing, that way it becomes more about radio plugging, dj’s etc
This time we returned to what we started off with- Walk in the park style – it’s just about his music! Now what he’s doing is the same thing as when he first started.

This time around cos there was no pressure, we didn’t even think about chart numbers as long as the people enjoy it, we were happy.

I’m not even surprised by any of this success. He speaks to the youth and older audience with his soulful hooks, so there are no types of fan that surprises me now, I’ve seen people from every single walk of life recite his lyrics and get excited by seeing him.

He’s done so many live shows around the world, I think maybe he enjoyed the Nigeria live gig most, I feel like he felt like he was at home away from home, they were very welcoming, there was no bullshit, he felt it culturally and it was endearing for him.

Giggs likes to congregate and laugh with people, I’d hate to always stop off at his south London home, cos you’d be there for another 4 hours, talking, laughing, debating, he loves bringing people together and seeing people win, that’s why he does songs with the youngsters of today.

When it comes to future Non-musical projects, I reckon he could go down the comic books n marvel superhero’s path somehow…

The beautiful thing about working with him is that you can see progression in him, and the people that he’s around.

I just want him to achieve everything he wants to achieve, I’m just happy to see him win.

So everyone who loves hip hop culture was aware that last week Netflix released The Get Down, an slightly fictionalised, entertaining, informative look at the early years around the birth of hip hop. A look at how the first seeds were planted in the multi billion-dollar industry we know it to be today, nearly four decades later.

Hip hop grew out of a the crumbling ghettos of a then bankrupt New York, at a time when the American economy was taking a battering due to shock oil prices, at a time also when the disco and funk music era was starting to feel stale. Young black and Latino men were looking for something fresh, and they found it.

On the eve of the Get Down’s release, we spoke to some UK hip hop royalty that were around in those early days, living and breathing the London scene, to ask what hip hop culture means to them.

DJ Billy Biznizz began by defining ‘the get down’ for the young ones. ‘‘The get down is the part of the record that is the most funkiest, and as a DJ you try to keep the get down continuous so it sounds like a loop. You play it from one turntable to the next turntable and the b-boys just all get down!’’

Cookie – a female rapper from the eighties hip hop collective Cookie Crew (now a Senior Manager at globally renowned The Orchard music company), stated ‘’hip hop is our religion, its an energy, its our movement, and its something that just keeps me going! For most of us from that era, its something we lived and breathed, to this day we live and breath it cos its been a foundation for the careers we have all gone on to have now. ’’

Billy ‘’a lot of people forget that we were so young in those days, most of us only 14, 15, 16, and hip hop culture taught us how to live our lives in a good and respectful manner, things like the b boy battles were so you didn’t have to go out and fight someone, you can just have a dance-off and the winner is the winner and still be cool afterwards. You didn’t have to be violent towards others, it taught us how to be respectful towards others and learning about your culture, your heritage and where you came from. Those things were really important and as youngsters hip hop culture taught us all those things’’.

MC Rodney P , who started out in the eighties as a member of the renowned London Posse, and still continues a successful career as a solo star today, explained how the British youth first became aware of the culture ‘’it was when Malcolm McLaren’s video ‘buffalo girls’ came out. Once we saw that we had more of an understanding of what it looked like, what graffiti looked like, how the people dressed, how they danced, and that’s when it really grabbed a hold here’’

Rodney continued ‘’there were places like Covent Garden where we all used to be where the real energy for London’s scene was. Covent Garden was almost like Switzerland, like neutral territory and our mecca, everyone gathered there from all over London to celebrate this new culture’’.

Most hip hop heads from those days also cite recalling the moment, when a young Jeffrey Daniels from the band Shalimar, performed by himself as his fellow band mates didn’t turn up to be, on British music show Top of the Pops(name checked years later by Jay Z ‘’ Came from the bottom the bottom, to the “Top of the Pops“). That inspired many young British kids, as well as, it seems, young Americans back then like Michael Jackson.

However Rodney wasn’t happy about the path the culture took in future years. ‘‘Obviously today a lot of hip hop culture has been dragged apart, so the culture’s not represented in the same way as ‘rap music’. You know rap music is known as hip hop, but hip hop is a culture’’.

Billy feels positive about the reforming of the cornerstones of hip hop though. ‘’I think people are trying to bring the elements back as they’ve seen that the fragmentation, doesn’t allow hip hop to live the way its supposed to be so they’re trying to de-fragment it and bring everything back together’’.

Rodney P broke it down ‘’I think what happened with hip hop is that, as the audience changed, the music changed, so when hip hop was still young and it was mostly young, black and Hispanic inner city kids listening to the music, the artists were making music geared towards that audience, and it was much more positive and much more uplifting. But as the audiences changed and it became more about young white kids from the suburbs, who became the dominant buying audience for hip hop music, suddenly the artists are making music geared towards them, so its less positive and more about the ‘so called negative aspects of black culture’. Black culture is 360 degrees, not just one thing, and that’s the problem I have with hip hop. We see such a narrow view of the black experience and it IS the black experience even though everyone is involved in hip hop- it still represents a black experience. So with the changing audience it all changed, as the audience became more cooperate, the corporations were prepared to sell change and that for me is a problem cos it disrespects the culture’’.

Of course, aside from rapping and DJ’ing, which are much more prominent globally, other elements of the culture include break dancing and graffiti, foundation basics which UK graffiti legend Artful Dodger and one time break-dancer (now Artistic Director of Breakin Convention), Jonzi D feel that new younger artists have left behind.

Artful Dodger spells it out ‘’the main separation came when rap music- as it became known to a lot of people- started to make money, that’s when the real separation came. B boying got relegated, as you can’t easily package that. With rap, you can make a record and promote the artist, so you have a commodity. You have a piece of merchandise, which can sell. So when the big money came into it, that’s when the change happened. And one thing I’ve always said when it comes to different aspects of hip hop is its not so much where its going, but who’s going to take it there. And if the younger generation are going to be the next generation to be the guardians and overseers of it then they have to be informed’’.

Jonzi D remembers how he fell in love with break dancing. ‘‘It was on a show on BBC2 called Arena in the eighties. All I saw was people moving rapidly on the floor and at school the next day, that’s all anyone could talk about as we tried to do it and the great thing is its now bigger than its ever been, people are literally breaking boundaries with their bodies!’’

With all the Get Down promo, one of its exec producers, the legend that is Grandmaster Flash, complained that the younger generation are happy to eat from the hip hop cake, but aren’t aware of the ingredients that it took to make it. Rodney P agreed saying ‘’I don’t think the younger generation will get it the same as us, we lived it!’’

We put this to young UK hip hop outfit The Age of L.U.N.A who last year supported Public Enemy live on tour in the UK , and told us ‘’its true that everyone now is eating from the hip hop cake cos it changed culture as we know it now, but I don’t think that people entirely care, but its important to research and see where what you are doing came from. I think our generation are picking up the nostalgic feeling of all four elements again. Dancing and graffiti too. Kool Herc was the guy that took the bridge section from James Brown, and played it on two turntables. Then one day he thought of spitting lyrics over the break beat ‘’come on everyone lets get down’ type of stuff, and then the rapping part was created too’’.

Whilst L.U.N.A seem to know more about the history than expected, and live for acts like Outkast, Lauryn Hill and Jay Z, they agree that hip hop culture can still be seen by many as a negative thing. ‘‘People may see it as a negative art form, but it’s a misconception because rap music has always been a representation of what was going on in life and society, and there’s harsh things that go on in the world but rap was one of the first types of music that was talking about these harsh times . But its important that we hear these words from people that we can relate to. I can relate to Biggie, I can relate to TuPac cos they came from a place that we can understand, a place of struggle, but with our music, we just wanna make people dance again’’.

The Get Down has faced some controversy though. Some are questioning whether director Baz Luhrmann has sufficient hip hop credentials but the UK key influencers seemed to love it citing things like ‘’ He has clearly done his research; it looked on point to me. There are some really nice small authentic hip hop references from the early days there. The acting, scenes and narrative looked great’’.

Jonzi D informed us ‘’I know a guy called Willie from the Bronx who worked on this with Baz, and he revealed that Baz let everyone else tell and write their own authentic story. Baz just simply put his style of directing to it’’.

Artful Dodger closed with ‘’Basically if something needs to spread, germinate and grow, then you’ve got to appreciate the facilities that are getting it out there. As long as it’s done with creativity, passion and integrity, as I have heard this has been done, then I’m all for it!’’

The Get Down: the view from Britain’s Hip Hop scene – 11 minute extended version.
Channel 4 News.

Watch British hip hop royalty Rodney P, Jonzi D, Artful Dodger, Cookie and Billy Biznizz as well as new young hip hop band Age of L.U.N.A, talk about what hip hop culture means to them, in my Channel 4 News feature around the Netflix new TV mini-series #TheGetDown.

Noel Clarke, the British mutlihyphenate (actor, producer, director, writer), has singlehandedly done more for the British working class youth to get into acting and film careers than anyone I can think of.

With his hood trilogy films Kidulthood (2006), Adulthood (2008) and Brotherhood (2016), he has given a platform to new British names and faces that simply wouldn’t have had a big break in TV or film without these platforms.

His ‘’Hood franchise’’ kicked off multiple copycat style films, but none that matched the quality and commercial success of his original blueprints. (Adulthood grossed £1,203,319 at the UK Box Office during its opening weekend, ranking above The Incredible Hulk, Indiana Jones and The Kingdom Of The Crystal Skull and Sex and the City!).

In the same way that John Singleton’s directorial debut Boyz In The Hood and Poetic Justice juxtaposed early stars from American music and acting like Ice Cube, Nia Long, Angela Basset, and Janet Jackson, Tupac and Q Tip, Noel Clarke has authentically amalgamated British musicians with drama to document inner city life in London over a decade.

The final of the hood films – Brotherhood – written and directed by Noel is released on August 29th across the UK and includes a supporting cast of Steven Cree, Olivia Chenery, Tonia Sotiropoulou, Nick Nevern, Adjoa Andoh, Arnold Oceng, Fredi ‘Kruga’ Nwaka and Ashley Thomas.

Clarke has been championing up n coming music acts on his film soundtracks for years. In fact the film soundtrack is as much a buzz and highlight as the film itself. The soundtracks perfectly encapsulate the era each of his films was made. In fact, simply examining each films narrative and soundtrack trajectory over the years, is a microcosm of inner-city life in many of the UK’s hoods of its time.

In 2006 and 2008 Kidulthood and Adulthood showcased early work from names like Femi Oyeniran and Jamie Winstone as well as Aml Ameen and Arnold Oceng, the latter two who now both enjoy successful American TV and Hollywood film work. (The Good Lie, The Butler, Beyond The Lights, Harrys Law).

Both early films also gave a platform to music acts like Bashy, Ghetts, J2K, Plan B, Sway, Dizzee Rascal, Tinchy Stryder, Chipmunk, Lethal B, Kate Nash, Wiley and more.

The timing for the upcoming Brotherhood couldn’t be more perfect, after a year in which grime and UK hip hop have been at their all time high across the globe. This film showcases grime music and UK hip-hop acts like Stormzy, Krept and Konan, Giggs, Jamie Joseph, Genisis Elijah, J Hus, Nines, Shystie, Asher D, WSTRN and Chip amongst others as well as older more established names like singer Laura Mvula and rapper Ty.
Release date for the album will be 26th August.

This new movie see’s, a now highly anticipated, cameo by grime music’s current prince Stormzy who gets a double whammy by not only acting but also being on the soundtrack.

As if all that isn’t enough screen shine on non screen faces, Noel also brings normal kids that don’t have a stage school background or an important mummy and daddy who work in film onto his sets, as he did with my intern Harry who was a runner on the new movie.

His narratives always provide an authentic London landscape that used to be (and often still is) denied by middle class folk living in policed postcodes like Hampstead and Knightsbridge.

His adidas clad characters come from all walks of life with unique struggles and experiences.

Noel’s character Sam Peel is now all grown up, no longer the protagonist and simply trying to stay on the good,clean, family-man path, but like so many others, he is dragged back into an unwanted situation. What is it this time that will make Sam Peel put on again, the iconic hoodie? What happens that makes Sam, who wants a peaceful legal way of life, get yanked back into an environment that just wont let him out of its clutches?

As you’d expect from the themes and motifs that the hood films have already set in stone, there is violence and sex and vulgar slanguage. But look beyond these for the powerful stories and reasons before quickly judging. (Frankly there’s more violence in every cowboy western we see but that’s a whole nother matter). These scenes aren’t heightened or glamorised for a film audience; they aren’t just about inner city life on West London streets, they are a reality happening in every town amongst our young people; grown ups simply don’t want to believe it.

However, ensuring the naked scenes aren’t just the female actresses titillating the audience, there are naked men too and as ever,Noel, who always makes a point to show off his bottom, does so, with aplomb.

Noel is a master at writing and eight years later, Brotherhood shows just how far he has come in developing and hooking an audience into full, meaty narratives. His characters are tragic hero’s and heroines, capable of being frighteningly violent whilst frightened, and throw out hilarious comedic one liners in the midst of tragic scenes.

Produced via his Unstoppable Entertainment and Maggie Monteith’s Carpalla Films, In Brotherhood Noel has also managed to highlight and comment on social and political areas that affect youth and society without being clichéd. A powerful monologue mid film says all that many would want to voice and applaud its raw honesty. Comments on social discord, young people and the police, class differences, racism, and loyalty amongst friends. Even though it’s been eight years since the last instalment of this story, its narrative and commentary is now more relevant than ever.

Of all the hood films this one takes you on a huge roller-coaster of an emotional journey, empathising with every character and holding your hand to your mouth in shock as much as you will clutch your belly laughing.

Most impressively, the film’s beautiful yet gritty scenes were all shot in just 24 days!

I predict it will go down in UK cinema as a classic, award winning piece of cinematography.

August 29TH
#TheEnd
@TheHoodMovies

Molded in the form of TLC meets Destiny’s Child is a relatively new, all-female R&B band from the UK, called M.O.

The three ladies Annie, Frankee and Nadine have been going around four years so far, and as well as being nominated for a MOBO award, they are also tipped for the top by Ed Sheeran!

Their latest song “Who Do You Think Of?” is doing serious numbers on Spotify, and burning up London’s radio playlists and dance floors.

Watch M.O’s video “Who Do You Think Of?”

With an all-female team behind them, this is a girl group walking a true feminist walk, pushing things forward for women in the music industry. Their Great Escape Festival lineup on the FACT stage alongside Stormzy and WSTRN proved them to be very able performers with a huge fan-base, and this year looks set to be the one where the ladies make their mark.

Having spent most of last year sharing the stage with the likes of UK rap acts Little Simz, Krept & Konan and Stormzy – Annie, Frankee and Nadine sat down this week to talk to me.

Where did you grow up and how did that area shape you?
Nadine, I grew up in Aylesbury Buckinghamshire- it’s a small town, not a lot rally happens there, but it’s not where you come from it’s the dream you have. I’m glad I came from there because this may not be where I would be now.

How did you all meet and form a band? –
We were all members of different groups and used to meet from being at the same events, studios etc, then we formed a good friendship & when our other bands ended we decided to get together & write the music we truly loved.

It’s hard getting a musical career off the ground. What has been your biggest career setback and how did you tackle it?
We haven’t had set backs as such, girl groups generally have a harder time we think, we dunno why, but one day we will get to the bottom of it ha-ha, so in that sense it’s tough, but we are three strong girls & we love what we do.

How did the Name- M.O (Modus Operandi) come about? Has it confused fans?
We actually heard it in a Drake song “The Motto”, and we thought it sounded interesting & loved the meaning of it (it means a particular way of doing something to achieve your goal)

Who does what in the band?
We get on so well & compliment each other in different ways; Nadine loves the Studio, Annie loves to be out & about on tour & Frankee loves photo-shoots & styling!

Earliest musical influences?
We grew up listening to a lot of 90’s R&B , Aaliyah , TLC, Lauryn Hill just to name a few.

First big break?
We had the chance to go on tour with another UK girl band called Little Mix, it was an arena tour, and it was a great experience for us!

Best and worst things about being in a female trio?
Best!! Only the best, having each other’s backs & support!

Who are the best female musical female trio (British/ American), and why?
Eternal, as their style was to die for, also Mis-Teeq had a great sound and Destiny’s Child had the killer vocals!

Tell us about your image and style?
We feel our style is just as important as our music. We just like to be comfortable, again very 90s influenced, we even wear a lot of boys clothes.

You’ve been touring and working with a lot of the grime acts, you’re very pop, how does that synergy work?
Yes pop but not bubblegum pop, we feel we can go on tour with a grime act & be ok; we always wanted to make sure that was the case.

You have a soulful pop sound. Why do you think has soul music in the UK not been as prominent in the past few years?
It’s all about timing, things come & go, and hopefully we can bring a bit of soul back to the UK.

Check out M.O’s song DANCE ON MY OWN

Listen to M.O duetting with UK rapper Lady Leshurr on their version of Brandy & Monica’s ‘’the boy is mine’’- The Boy Is Tied.