Jasmine’s Juice – The First Black Magic Awards 2017!

This weekend just gone, I was honoured to be awarded an honour at the very first BLACK MAGIC AWARDS.

I am sure they said it was for ”women of colour’ just because of my inclusion,(and for that i am very grateful and humbled), or else it would have been ”black women”.

The night saw 12 inspirational women honoured at the first annual Black Magic Awards, which took place at Hackney Empire. The awards were founded to celebrate the women who have contributed to the black entertainment, sports, business and community scene.

Hosted by entertainer Eddie Kadi and America’s Next Top Model contestant Annaliese Dayes, it was a night of true magic with performances from the likes of MOBO Award winning singers Rachel Kerr and Lurine Cato, 8-year-old viral dance sensation Princess K and a guest appearance from model Munroe Bergdrof and rapper Stormzy.


I was lucky enough to awarded the INFLUENCE AWARD and it was presented to me by model Munroe.

There had been a couple of online comments challenging my presence on the list of black women so i thought it best to acknowledge this is my speech with some context.


Good evening everyone!
Thank you all so much for coming this evening. Its not often we all have an excuse to celebrate just women, and also thank you so much for having me.
It’s such a privilege sharing this stage with the rest of the ladies being honored here tonight.

I am here today, having the great honour to speak to you all, because I am good at surviving.
People tell me that I have succeeded despite the odds, but I correct them, and explain that being a woman of colour has always been my biggest strength – not hindrance!

Furthermore, whilst I am a woman of colour, I know many wouldn’t count me as a black woman.
So I do know just how blessed I am, to even be amongst the list of incredible women, being honoured here this evening.
I know that some people will feel that I don’t belong here. I also know from looking at a couple of comments online, that for some people, my being here is controversial. And I understand that.

Being of both African and Persian/ Zoroastrian heritage, I’ve never really been accepted as a part of any culture, but as a child growing up in Southall and Harlesden, where the Asian and white families mostly shunned me, it was ONLY the black community who welcomed me unconditionally – …so long as ….
I always said good morning, good afternoon, and good evening, as I entered and left my friends homes, that’s all their parents required of me- good manners! So essentially, that’s how you guys ended up, unknowingly, adopting me!

Every blessing I have had in my career in TV, radio, print press and more, has come via your teaching and influence, and my passion for your culture. That’s why at any given opportunity I give back.

You have the warmest, most welcoming ancestry, full of heart, soul and strength. It’s the reason the world gravitates throughout history, (past, present and future), towards black culture and it’s trends.

Throughout my career, I have been blessed to have been able to champion, so many of the women on this stage, and I want to thank them in turn for supporting me.
Sisterhood is a two-way street, and as some of you know, if we are friends-I am ride or die with my loyalty.

The women being celebrated here this evening are all incredible, groundbreaking leaders, who have moved the conversation forwards for future generations. And For that I salute them.

Actually being really real, this award means the world to me, as its not often we get recognized by mainstream awards ceremonies, but my feeling is, as all the trends start in this community, it means even more to know its this brand that has recognized me.

I dedicate this award to all the outstanding women who have supported me over the years, and to the women of our future, who will be even more spectacular!

Once again, I thank you from the bottom of my heart, for adopting and accepting me as one of your own.
I will continue to shine a light on as much as I can, and fight for social equality, equal opportunities and justice for us all.
I’m so grateful to you and hope to never let you all down.

Finally, they say that the journey of a thousand miles begins with just one step. I was only ever trained in TV, never trained in radio, writing columns and more…but i am managing to do it all…but I say that…The secret of getting ahead is simply getting started….And Black Magic Awards – you have started on your road to greatness!

Thank you all for listening, have a great night!

Here is a list of all the winners.

• MEDIA MOGUL Sponsored by Palmer’s – VANESSA KINGORI
• THE TRIBUTE AWARD Sponsored by Palmer’s – JAMELIA
• MUSIC Sponsored by Palmer’s – MIS-TEEQ

My two fave moments were when my girl Angie Le Mar was awarded, the things that she has achieved and broken down doors for so others could follow in her footsteps are spectacular!


Another big moment was when Stormzy presented the last award of the night to one of his idols, legendary radio DJ Jenny Francis, who featured on an interlude on the rappers hit album Gang Signs and Prayer earlier this year.


With over 20 years in the business, the Heart FM DJ, was honoured with the ‘Radio Personality’ award and the show’s organisers thought that there was no one better to present the award to her.

Hollyoaks’ Duyane Boachie “A childhood hero to so many of us, introduced me to R&B as a kid. 27 years of radio, more than deserved” the rapper tweeted to his fans alongside a photo of himself and the winner.


the Actress award to Coronation Street and Waterloo Road star Angela Griffin and Casulty star Charles Venn presented the Media Mogul Award to GQ Publisher Vanessa Kingori MBE.

Jamelia, Alesha Dixon’s Mis-Teeq’s, TV presenter Charlene White, England footballer Rachel Yankey, entertainer Angie Le Mar, music artist Eve and Beverley De Gale from the charity ACLT were also honoured on the night.

The Colour Network founders and organisers of the BLACK MAGIC AWARDS, -KOJO AND ANNIKA – did an amazing job, with a great buzz at the very first launch event and it will no doubt be a HUGE presence on the annual red carpet calendar!

“Despite their contribution and achievements, some of the women we honoured this year have never been properly recognised,” said Kojo Anim, Founder of The Colour Network. He continues, “However, rather than dwelling on it, we wanted to make a change and shine some much needed light on these amazing women.”


Others in attendance and gracing the black carpet on the night included; Actors Fab Santino, Femi Oyeniran and Adam Deacon, music talent The Katanas, Magic FM’s Angie Greaves, Big Brother personalities Deborah Agboola and Hannah Agboola plus many more.

“The evening consisted of motivating and encouraging words from the honourees and featured captivating performances,’ says The Colour Network co-founder Annika Allen. ‘It was an inspiring look for all women—especially black women who don’t get to see enough positive images of powerful women of colour in the media.

Jasmine’s Juice – BRITISH MUSIC EXPORTS RISE IN 2016 – #TeamUK Music Winning Globally!

· Overseas earnings by UK record labels up 11% to £365 million last year.

· International revenues climb 72.3% this decade, adding to an overall total of £4.4 billion earned by British artists and labels since the turn of the millennium.

· Adele, Coldplay, David Bowie & Rolling Stones led the way driving UK global sales in 2016.

· Ed Sheeran helping to set up another stellar international performance by UK acts in 2017.

Music body the BPI announced at its AGM in London today that British recorded music exports have risen to their highest levels this century, growing by over two thirds this decade and contributing nearly £4.4 billion to the UK’s overseas earnings since 2000.

Figures compiled by the BPI based on an annual survey of its record label members reveal that overseas earnings from recorded music rose by 11.1 per cent to £364.6 million in 2016, up by £36.4 million from £328.2 million in 2015. This is the strongest performance since the BPI began its annual survey in 2000 and represents an increase of £153 million on the £211.6 million recorded at the start of the decade – a rise of 72.3 per cent since 20101.

The growth reflects the enduring global appeal of British music, with UK artists accounting for one in every eight albums purchased around the world in 20162 and the UK continuing to punch above its weight as the world’s largest exporter of recorded music after the US.

With Ed Sheeran’s album Divide ÷ currently enjoying huge global success and major stars such as Little Mix, Rag‘n’Bone Man, Jonas Blue and Stormzy breaking through internationally, there is every possibility that 2016’s strong exports showing will be added to in 2017, not least as a new Sam Smith album is expected later this year among other key artist releases.

Announcing the rise in overseas music exports Geoff Taylor, Chief Executive BPI & BRIT Awards, said:

“With Britain leaving the EU, the UK needs businesses that are true global superstars. Music by brilliant British artists such as Ed Sheeran, Adele, David Bowie, Coldplay and Sam Smith is streamed and purchased the world over, boosting the UK’s balance of payments. The global digital streaming market represents a huge new opportunity. Government can help to seize that opportunity by making sure our artists can tour freely post-Brexit and that third countries robustly protect music rights.”

Matt Hancock, Minister of State for Digital at the Department for Digital, Culture, Sport & Media, said:

“This fantastic economic success is a huge testament to the UK music industry and the wealth of talent and creativity underpinning it. Not only is music a crucial factor in bringing international investment to our shores but it is also the introduction to British culture for many people around the world.”

Last year’s strong figures were fuelled by the phenomenal global demand for Adele’s 25 – released just six weeks earlier in November 2015 – as well as Coldplay’s album A Head Full of Dreams, which came out soon after in December 2015.
Another telling factor was the untimely passing of icon David Bowie in early 2016, which prompted a huge surge in demand for his repertoire of classic recordings. The Rolling Stones’ Blue & Lonesome, which was released in the last quarter of 2016, also performed notably in overseas markets for the UK alongside other titles by British artists.

The BPI figures reflect the long term investment in A&R by UK record labels, as they look to sign and develop outstanding new British music talent and promote it at home and around the world. UK record labels – ranging from the three so-called ‘majors’ Universal Music UK, Sony Music UK and Warner Music UK to hundreds of independent labels also represented by the BPI – typically invest on average around a quarter of their annual revenues into new music each year, comparing favourably with the ‘R&D’ spend of other industries, such as pharmaceuticals (13%) and the automotive sector (5%)3.

UK record company executives have become world-leaders in global digital marketing, supporting the dramatic rise in audio streaming, which in 2016 increased by 604 per cent worldwide. These new revenue channels combine with overseas earnings from sales of CDs, which remain remarkably resilient, vinyl and downloads to boost exports. The BPI data also includes income generated from PPL public performance royalties5, synchronisation (music for film/TV soundtracks and broadcast advertising), and other licensing income.

The contribution made by UK government funding to the success of British music around the world should also be acknowledged. Department for International Trade (DIT) funding of the Music Exports Growth Scheme (MEGS), for example, which the BPI manages, has made £2.3 million in grants available through the GREAT campaign to 150 mainly independent label-signed artists since January 2014. This investment helps UK acts to build their profile and fanbases in key overseas markets, and to date £10 of additional international earnings have been generated by the MEGS artists for every £1 invested6.

Government-backed international trade missions organised by the BPI with music partners such as the Association of Independent Music (AIM)7 and the Music Publishers Association (MPA)8 also play their part in promoting British music overseas. Recent missions include visits to growing markets such as China and India, with a trip to South Korea planned for later this month (24 Sep – 1 Oct), while the annual LA Sync mission9 and UK presence at MIDEM in France10 are key fixtures in the music industry calendar.

British music exports are strongest in North America and across Europe, although fast-emerging markets in Asia are becoming increasingly significant. The top five international territories for UK labels in 2016 were USA, Germany, France, Australia and Canada (see Notes for top 10)11.
BPI members are reporting gains in developing markets as varied as China, Turkey and South American territories, while India and South Korea also have the potential to become important overseas markets in future.

Jasmine’s Juice -The Chineke! Foundation, Championing change and celebrating diversity in classical music.

The great and good from the music world got together at the swanky Gore Hotel in Kensington last night, for a fancy dinner and then walked across the road to the Royal Albert Hall to enjoy a Prom.


Not just any old Prom, but a prom with a difference! This was Europe’s first majority Black & minority ethnic (BME) orchestra; & the youngest to take part in BBC Proms!!

In addition, we were also celebrating a new work commissioned for the Prom by BBC Radio 3, from composer Hannah Kendall, who recently has joined the PRS Foundation as trustee. We were all really excited to celebrate her Proms debut!

We were all gathered to celebrate The Chineke! Foundation, which was established in 2015, to provide career opportunities to young Black and Minority Ethnic (BME) classical musicians in the UK and Europe.

Set up by the inspirational Chi-chi Nwanoku OBE, Chineke!’s motto is: ‘Championing change and celebrating diversity in classical music’.

At the Royal Albert Hall, we thoroughly enjoyed The Chineke! Foundation Prom:
Guests who joined us for the Prom and dinner beforehand included;

Peter Leathem (CEO PPL)
Jonathan Badyal (Universal)
Ayesha Hazarika (BPI consultant and broadcaster)
Richard Thomas (Richard Thomas Foundation)
Caroline Norbury (PRS Foundation trustee)
Vanessa Reed (CEO PRS Foundation)
Naomi Belshaw (PRS Foundation Grants and Programmes Manager
Hannah Kendall (composer) and members of her family
Kanya King (MOBO Awards)
Kevin le Gendre (BBC Radio 3 Broadcaster)
Gillian Moore (Director of Music, Southbank centre)

Chineke! is the brainchild of renowned bassist, educator, and activist Chi-chi Nwanoku OBE, FRAM (Principal Double Bassist and co-founder of the Orchestra of the Age of the Enlightenment, Professor of Double Bass Historical Studies at the Royal Academy of Music), and is backed by key cultural organisations such as the British Council, Conservatoires UK and Southbank Centre.

Chi-chi Nwanoku OBE

The PRS Foundation have been doing some amazing work behind the scenes and have supported Chineke! in May 2017 through their International Development Funds to take the orchestra to the International conference ‘Classical NEXT’ in Rotterdam, where they opened the conference celebrating their championing diversity in the UK and showcasing the work of the wonderful UK Composer Errollyn Wallen.

Furthermore, Chineke! is currently being supported further for the same work, by Errollyn Wallen through the PRS Foundation’s Resonate programme, with a series of concerts in the UK through winter 2017.

Resonate is a fantastic new initiate from the PRS Foundation “Celebrating the best British orchestral repertoire of the last 25 years – a new scheme which invites orchestras from across the UK to perform and promote the best of British music written in the past 25 years.”

British Producer, DJ and grime connoisseur Charlie Sloth is ready to plug you in.

His BBC Radio One Rap Show is the biggest in the UK and sees’ his brand break new acts regularly.


His predecessor at the BBC was Tim Westwood, and where Westwood was regarded the British Funkmaster Flex, Charlie is more of a parallel to Charlamagne.
Westwood had worn the UK Rap Radio King’s crown for so long; other great DJ’s had come and gone, it was assumed he would hold the reigns forever, and then, came this cheeky banter filled, smiley, ridiculously loud man of many talents, Charlie Sloth, who made everyone sit up and gawp.

Determined to shine a light on all the various rap talent across the UK regions, rather than just focus on London, and incredibly savvy with his branding and internationally recognised ‘’Fire in the booth’’ (FITB) sessions, Charlie is HOT property in Europe right now.

His FITB moments have captured British ears, eyes and minds in their millions across the years.

Having cemented his reputation as a DJ, Charlie feels that now is the perfect time for him to make the transition to become an artist and producer in his own right.

Like his namesake Charlamagne is in The States, Charlie is the biggest name in national radio shows in the UK; every act is desperate to be aligned with him. More so, Like DJ Khaled, he makes music too and has his debut album ‘The Plug’ out this month, which features British names like Bugzy Malone, Stormzy, Ghetts, Giggs, Avelino, Lady Leshurr and a few American names like Jadakiss, Sean Kingston, Ace Hood and 21 Savage too.
Highlights include Aystar’s characteristic Scouse-accented narrative on ‘Therapy’, and ‘Kendrick Lamar’, which finds Cadet praising the Californian star and critiquing the genre’s stereotypical themes.

As a figurehead of the scene, Charlie found that many of his musical friends were eager to get involved with the project. The majority of the tracks were recorded in Tileyard Studios, while others were cut in the portable studio located in his tour bus. Every track was informed by Charlie’s vision – he was present for every single recording session, aside from a few exceptions with international artists who he interacted with via Skype.

Around a decade ago, Charlie’s comedy characters eagerness to make it in the hip hop world via skits, titled ’Being Charlie Sloth’, were a hit on Worldstar Hip Hop.
Now, he’s the biggest key influencer in the UK. With music, acting, clothing, property and more on this man’s resume, this multihyphenate, who is also the self-proclaimed ‘best looking fat guy on the planet’ spoke to me for The Source.


Your brand Fire In The Booth, has had plenty of big US acts through the door over the years, any highlights?

There have been so many highlights; we’ve had over 500 FITBs. Everyone of them has had its own magical vibe!

There are several FITB’s in the bag from new US acts, who are you excited about from The States at the moment? Any FITB’s lined up with any of them?

We have Young Dolph, 2 Chainz, Jay-Z, old school artists, so many artists. There is a long list!

What was it like working with 21 Savage, Ace Hood, Sean Kingston and Hardo for your album and how did these collaborations come about?

To have them on my album is a beautiful thing. I’m a massive fan of Hardo, and then I was like Yo, This record would be crazy. We spoke about it, 21 Savage jumped in and it happened organically.

You recorded many of the beats that would eventually make the album on tour out on the road. Many of these shows were across America, so which beats were written and made in the US and which cities and areas did you have the most affiliation with?

My favourite city is Atlanta. It’s a laid-back city with such a great energy and music-wise very inspiring. I met many artists in Atlanta, Sean Kingston, and a whole lot more. So it’s definitely ATL!


In recent years we’ve seen your station BBC Radio 1Xtra heavily champion rap and grime, do you think we’ll see some more championing of other black music genres like R&B and reggae which haven’t been as strongly supported on the playlist in future?

1Xtra has supported it for years now, and will continue to do so. It’s especially important for black music. We’ve got a afrobeats DJ, we’ve got a dancehall DJ. 1Xtra will always be that platform for support.

I’m curious to know your thoughts on radio in general, with digital sharing platforms dominating music, do you feel that radio is still as important for the hip hop, rap and grime scenes both in UK and internationally? And where do you see it going in the future? Any trends in people’s listening habits you can foresee?

Radio will always be important. Not only for Hip-Hop, Rap, Grime. When it comes to radio you got special DJ’s, you got personalities that inspire you.


You’re representing the UK at Red Bull Culture Clash this year and we’re seeing more and more American and Canadian artists asking for features from Brit artists. Is breaking the American audience still an important milestone for British acts or are you seeing a move away from that?

I don’t think it’s as important as people thought it was years ago. But I feel the UK artist will always want that. It shows how big and healthy the scene is if we’ve got the biggest artists in Canada and America, Jamaica or Africa wanting to work with our homegrown biggest artists and it’s only a matter of time until we become global.

You first became known in LA and rest of North America from your ‘Being Charlie Sloth’ shows. Will you ever look to recreate the character or any ambitions to do some more acting again?

You never say never, and you never know what the future holds. “Being Charlie Sloth” is a massive part of my career, you never know what is coming in five years from now.


Can you touch on why the UK rap and grime scene seems like a bit of a boys club? It feels like the girls music championed on socials as much as the boys share each other’s fan bases?

Between female and male artists there’s a huge, huge gap. There are so many more male artists than there are female artists and for me personally, I’m always trying to find the next female artist, there’s incredible talent. I think the problem is just the ratio.

That said, which girl MC’s are on your radar right now?

Of course you’ve got Steff London and ones who are already out there, the last one who really got my attention right now is Banks.


You’ve always championed UK music from outside of London and always seen it more as a national thing, are there any scenes popping from other cities right now, what’s the next city/scene to blow and why?

When you see how everything’s changed even in the last two years, Manchester artists came through; people are listening to JayKae, artists from Birmingham. The next city which is gonna have a massive boom is gonna be Liverpool.

Moving on to a more serious area, Knife crime, is a topic of much concern with young people in the UK right now, what are your thoughts on what can be done within the music scene and how artists and people in the scene can try to tackle the issue?

To me it breaks my heart. For me personally, mothers and fathers have the responsibility for their children. Parents just need to take responsibility. Secondly, the local authorities need to make sure that there is some form of entertainment or social activities. But when you look around, there is no real social activity. There just needs to be spent more money on that.

Are you still matching your hundreds of very colourful jackets and trainers? You’re like the Imelda Marcos of hip hop!

Yeah! The hat matches the jacket, the jacket matches the trainers! When I stop doing that it means I’m old. Fashion is a big thing for me.

“I wanted to make this album as diverse as I possibly could,” says Sloth. “I come from the world of urban music, particularly grime and rap, but I wanted to make sure all the different aspects of what I represent were featured on the album.”

“I wanted to try to be as different as I could,” he continues. “I didn’t want people to listen to the album and think, ‘This was obviously made between 2015 and 2017.’ I wanted it to have more of a timeless feel. There’s no record on this album that sounds the same, or even that you could pigeonhole into the same sound.

‘The Plug’ tracklisting:

1. ‘Take What’s Ours’ (feat. WSTRN)
2. ‘Take It All’ (feat. Avelino & Mic Righteous)
3. ‘Running’ (feat. Ghetts & Abra Cadabra)
4. ‘UPS’ (feat. Fredo)
5. ‘Pull Up On You’ (feat. Lola Rae)
6. ‘No Noise’ (feat. Skinz & K Koke)
7. ‘Angelina’ (feat. Lil Kesh, Olamide & Not3s)
8. ‘Therapy’ (feat. Aystar)
9. ‘Pressure’ (feat. Ace Hood, Bugzy Malone & Silverstone)
10. ‘Wake Up’ (feat. Giggs)
11. ‘Gang’ (feat. 21 Savage & Hardo)
12. ‘#FameGame’ (feat. Bugzy Malone)
13. ‘No Pictures’ (feat. Bugsey & Young T)
14. ‘Kendrick Lamar’ (feat. Cadet)
15. ‘Liars’ (feat. Clue)
16. ‘Think About Me’ (feat. Wolfie)
17. ‘Look Like’ (feat. JMC, Jadakiss & Stormzy)
18. ‘Real Hard’ (feat. Knytro)
19. ‘What I Can Do’ (feat. Sean Kingston, Spice & Lady Leshurr)
20. ‘We Dem’ (feat. Giggs & Potter Payper)
21. ‘Did This on My Own’ (feat. Nafe Smallz)
22. ‘Walk Away’ (feat. Donae’o & Konshens)


Jasmine’s Juice – J Hus For Channel 4 News!


East London-born musician J Hus’ story and music personifies what it is to grow up as a young person in a British city in 2017.

Momodou Jallow was brought up by his single parent mother and is one of the hottest propositions in British music today.

He’s been nominated for the Mercury Music Prize next month, as well as nominations in the past for Best Newcomer at the MOBO Awards 2015, and his inclusion on the prestigious long-list for the 2016 BBC Sound Poll.

I caught up with him last week for a chat.

Jasmine’s Juice- Minister Matt Hancock and Musician P Money Talk Racist 696 Form.

This week I made a feature with our Channel 4 News team about the controversial 696 Form. You can watch the TV feature here;

The 696 form is a form invented by THE MET POLICE in the early noughties, after some violence at garage gigs in London.
Since then, its been used by police forces across the UK, and stopped many acts from performing to live audiences, thereby stopping career progression and young musicians making a decent living.

The form asks for ”genre” of music info, and only affects music that is performed with a DJ or MC and recorded backing track, usually impacting just grime, rap, hip hop, reggae and basement genres.

Artists like So Solid Crew and Giggs, amongst many others, have been affected over the years. Even incisive black festivals like AFROPUNK, where names like Nadia Rose was perfuming last week were made to fit in the form this year with a fear that it could have also been cancelled.


Now for the first time, an MP and Minister for the Arts has stepped in to try and scrap or reform the form.


MP and MINISTER FOR THE DCMS – Matt Hancock – department of digital, culture, media and sport told me the following.

Why did you decide to write an open letter to sadiq khan about the 696 form?

I’ve been worried about 696 for some time but there’s a real problem for live music venues coming under pressure. The more and more evidence I got that this form is not just difficult to fill in, it stops people putting on live music in the 1st place, before they come to fill it in. so there’s evidence that it’s a barrier. It stops people putting live music on…I love live music. I think grime scene is brilliant and I want to do everything I can to support it and I think ending 696 is part of answer.

What’s your main concern around the form, the impact on our economy or is it stifling young talent?

I think it’s both and the two increasingly come together. The eco depends on our creative industries and music is one of our best industries. It’s an amazing export and sells around the world. Also for young people their way into the world of work so it’s not either or. ending form 696 would help our economy but more importantly it would make sure that London would be more vibrant.

Do you think your involvement can change anything; with respect, do you have the power to change anything?

We don’t have power to end 696 – the mayor of London does so I’ve written to mayor of London to request that he ends this form . He’s got power to do it, it’s in his hands and I hope that he takes the action that’s necessary.

For many people they think the form is racist- do you think its racist?

Well the form definitely puts off people from black and min ethnic backgrounds from putting on music and I know that it has that impact and when u talk to ppl it’s mostly people from black and min ethnic backgrounds who are concerned about the form, and who tell me that they haven’t put things on ’cause they didn’t want to fill the form in. and I think that making sure that everybody has the chance, to put on their music and support live music from every community, is a really important part of Britain and making sure we have best diversity we have.

So you do think its racist?

What I would say is that it does disproportionately affects people from black and ethnic minority backgrounds.

The reality is that British black artists tell us that when they perform at festivals with mostly a white audience they don’t have to fill this form in, but if its to a black audience, they do. So clearly there’s a race agenda?

There’s no doubt that grime is disproportionately made by people from minority backgrounds and I’m not going to get into the use of the more extreme language around this, but I do understand where people are coming from and what I’d say it has a disproportionate impact on people from minority backgrounds.

If you were in power would you scrap the form completely or what would you do to change it?

I think mayor has responsibility to of course look after policing in capital but also to make sure that policing is fair to everybody so yes I think he should end this form.

Have you spoken to The Met about this yourself?

I’ve seen the response from the Met and frankly I don’t think that it justifies the blockage that’s in place because of this form.

Finally, Mayor Sadiq Khan did respond to your letter saying to let the MET Police do their job, but ultimately this isn’t just a London issue is it, with police forces all over the country having their own version of the form, it’s a nationwide issue therefore deserves a government response?

I’ve been very disappointed by the Mayor of London’s response and I’m writing him again, and it may be true in some other cities there is a similar problem, we’ve got to look for the evidence. I think that the evidence in London is clear and that’s where action needs to be taken.


Next I spoke to grime artist P Money who drove us around South London whilst telling us his own experience with the 696 form.
Here’s what he told us.

I’ve been in this game for 12 years and I’ve performed all other London, Leeds, Nottingham, Manchester, Southampton even Scotland, Cardiff.
The vibe at my shows and festivals is quite a mixed vibe – you have so many people from diff places. Sometimes I get people from Wales come down to London. It’s like a strong following. I feel like I know them. Like long distance friends.

Personally I think the 696 has been set up to stop events, raves parties from ethnic backgrounds, because I haven’t witnessed it in any other type of music where it’s from black orientated sounds and the crowd as well. Grime started off like that, it’s changed now and I haven’t really witnessed what we go through in any other sort of genre or types of raves.
The proof that I got is when you try to put on a grime night it was told no. When you put on a night and you give it a different name it gets the go ahead.

To get away with putting a night on you have to not mention grime. Sometimes you have to mask a guest as a special guest and not actually say their name because of fears that they might not pass the 696 form. Sometimes we list a whole load of music, r & B, hip hop make it as if there’s a whole load of music being played to get the go ahead but we can’t actually say it’s just a grime night.

It makes me feel annoyed and kinda angry . If feel like we’re targeted, because it doesn’t happen in anything else, it only happens with us. So I feel like we’re targeted. Grime artists, fans, and supporters. It makes me feel like we’re casted out.

A lot of my peers and artists that I know have felt like it can be a race thing. Most of the artists are black, most of the fan base at first were black as well, when this was happening on a regular basis, so we do have reasons for why we feel like that.

Last year I was booked to do festival in Leeds, and I was told they’re pulling me and two other acts off the line up. They were DJ’s and they were pulling us off line up. They didn’t have any explanation. They refused to tell us why. They just said they’re pulling grime. I didn’t see any reason why. I have performed in Leeds a number of times. There was a whole load of acts at the festival but they only wanted to pull us off.
It almost makes you feel like a criminal. What have I done? Why is this being done to me? What have I done that’s so bad? Why am I being taken off the line up? This is my only way of earning money. I don’t have a 9-5 job. This is my job. You’re not giving me any explanation whatsoever. The festival organisers have no choice.

I always challenge these decisions. Even when they take me off the line up in Leeds. I demanded a reason. I speak to whoever is in charge. But still they don’t have to respond they abuse their power. What can u really say to police? They make you feel hopeless. The moment u raise your voice a bit, they paint you out to be a criminal that you’re doing something wrong when you’re just trying to get answers. And a lot of my other peers feel like that. We tweet about it. Not once will we ever get answers.

I’m always fearful of repercussions, because if they have power to stop you from doing a show and now you’re challenging them, there’s nothing stopping them from doing that at any show. They can paint you out to be against them. As if they’re their job is to protect people. If you’re against them they can stop all your shows. It’s scary knowing there’s someone out there with that power that can just do that.

It affects young people. This is the young music of today. Some people grew up with hip-hop. This is what young people listen to today. This is what keeps them occupied. It makes them feel good. We educate people. You’re affecting a lot of people. I’ve flown to Bosnia and have no problems performing there.

I can only see where the police are coming from if they say safety issue, if they have an advance warning that something is going to happen. Something can happen anywhere. You don’t know where something can happen. You are assuming something is going to happen at a grime festival. That’s wrong. It’s not about safety. It should be for everything then.
If you’re gonna give us the 696 form then you need to give it to everyone. Beyoncé should fill out a 696 form cos who’s to say there isn’t gonna be a fight at her concert? There are thousands of football hooligans – we don’t have grime hooligans.

When the minister wrote his letter to the Mayor it made me feel better. But we have got a long way to go. Even a minister can write a letter and be dismissed. Someone with more power than me is on our side but even he’s being dismissed.

If I could give a message to Sadiq Khan. I would say that he needs to come to our kind of festival. See what they are destroying. You’re going to turn people against you . You’re going to turn people against the police. People are looking for any excuse. You’re taking music away from people. I don’t understand since when did music hurt people. Don’t blame the music. If a fight happens it’s the people who are to blame not the musician. It’s not the musician teling people to fight. Sadiq needs to be in the mix and see what’s really going on.

If the form was scrapped. It would mean the world to me. It’s how I earn my money, how I pay my mortgage, how I look after my son. Everyone else doesn’t have the same worries.
It’s only a matter of time for someone who feels so strongly whether it’s a protest, whether it’s a riot. This is how these things happen because of miscommunication and misunderstanding. At the moment it feels like they’re not trying to understand us at all. The 696 form would be a massive progression to actually understanding and building something,. Between fans, festival goeer and met police who claim they’re only watching out for our safety.

When I perform at Reading and Leeds festival, I’m not asked to fill out a 696 form. If I perform at Oceania nightclub there’s no 696. If I perform in Croydon, where there’s black kids, it comes up automatically. That alone makes us think you’re targeting black people.

It affects us socially. You’re segregating us. You’re stopping black people having fun. You cancelled our rave. You’re against us. Music brings people together. Doesn’t matter what colour you are. it’s backwards to wanna stop that. When I’m onstage I see thousands of people singing together, why would you wanna stop that?

I think it’s crazy that festivals like afropunk are having to fill out a 696.
I highly doubt that Ed Sheeran has to do a 696 form.
They say it’s safety I just think the rules they apply to our events should be applied to every single event if it’s about safety.

With enough of us all uniting to speak up about this and come to a fairer way of dealing with it nothing will change. Thank to Jonathan Badyal for his support in pushing through this issue with Government.


Jasmine’s Juice – Wizkid performs ‘Sounds From The Other Side” at London Party.

Wizkid performs at his London listening party. PIC COURTESY Paul Hampartsoumian.

At London’s east end venue The Curtain, last night, hundreds of afrobeats fans gathered for a VIP listening party for the prince of the genre – Wizkid’s new album titled ‘Sounds From The Other Side”.

Disturbin London DJ – Siobhan Bell warmed up the crowd nicely, PIC Courtesy Michael Tubi.

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PIC Courtesy Michael Tubi.

Female and male fans were dressed to impress in glamorous outfits and sharp suits to Nigeria’s finest perform a few tracks froths album past, present and future.

PIC COURTESY Paul Hampartsumian

”now i’m not saying Wizkid is performing just me but….hey Wiz can you see me behind your shades?”.
PIC COURTESY Paul Hampartsoumian.

Joining him onstage during the very hot, energetic set were the UK’s very own Skepta who Wiz stated ”without this man much wouldn’t have been possible, i thank him so much, he also mediated the get together with Drake so thank you my brother Skepta!”.


Also onstage and in the house were comedian and host Eddie Kadi whom Wiz acknowledged as well as DJ Semtex and DJ Abrantee who Wiz thanked for the support. He also thanked a missing Tim Westwood.

Capital FM’s DJ Abrantee. PIC Courtesy Michael Tubi.

PIC COURTESY Paul Hampartsoumian.

PIC Courtesy Michael Tubi.

Henessey cocktails and jollof rice boxes – with chicken and veg options – as well as donuts were distributed so the crowd went home with satisfied stomachs, taste-buds, ears and hearts.

PIC COURTESY Paul Hampartsoumian.

At the end of his set both the crowd and Wizkid were done!PIC COURTESY Paul Hampartsoumian.

Jasmine’s Juice- Naughty Boy Key-Note Speaker Music Publisher’s Association , Bugzy Malone Listening Party, First Access Entertainment Summer Party At Tramp.

July 4th is always a busy day for events. Aside from Independence Day it seems as though everyone decides this date is good for a function.

So this July 4th just one, I started at the Music Publishers Association to moderate this years keynote speech at their AGM. The key-note speaker this year was the unparalleled music genius Naughty Boy – Shahid Khan.


The 200 strong music publishing staff in the audience had a real treat as NB broke down his career from producer to artist, and then from artist to publishing label and then the future….

Naughty Boy, is an Ivor Novello and MOBO award winner, who has penned and produced tracks for the likes of Sam Smith and Emile Sandé, amongst many many others. He is described as a world-class songwriter/producer of the highest calibre.


The NB brand, has taken the music rulebook, and ripped it up, and done things every step of the way – as Sinatra said- his own way.
For those that aren’t familiar with his now legendary first big breaks, he dabbled with Bollywood songs, won £44.000 on Channel 4’s gameshow Deal or no deal, won £5000 via the Princes Trust, set up a studio shed in his parents back garden, met a girl called Emeli Sande, produced Bashy’s Black Boys hit, made ‘Diamond Rings’ with Chipmunk/and the rest is history.


His artistic success as a song-writer has been phenomenal with the likes of Beyoncé and Simon Cowell picking the phone to him and he was also one of the last people to work with George Michael.

As if thats not all impressive enough, he’s also collaborated with artists such as Rihanna, Beyoncé, Ed Sheeran, Leona Lewis, Wiz Khalifa, JLS, Cheryl Cole, Jennifer Hudson, Gabrielle, Jess Glynne, Professor Green, and Tinie Tempah.

These huge names from across the globe are calling him, fundamentally due to his songwriting and producing skills. During the interview he revealed how he and his song-writing teams work together, support each others careers, how he safeguards and promotes the interests of the writers signed to his label and how the way he works has changed as a result of that journey.

He’s what we call a modem day digital disrupter. As well as moulding his own career, he’s successfully discovered and nurtured artists with sustainable careers during turbulent times in our industry, and continues to identify the creators and artists of the future.

He has his own publishing company –NAUGHTY WORDS- and has learnt much around publishing via older mentors in the game.

A music publisher is responsible, for ensuring the songwriters and composers receive payment when their compositions are used commercially. They also secure commissions for music, and promote existing compositions to recording artists, film and television. NB shared what his biggest and worst publishing experiences have been to date.

Earlier this year he signed a worldwide deal with Downtown Music Publishing, and also established a joint venture with his publishing company, Naughty Words.

The Internet killed the music industry for a while – then a few years later squished it up and re-birthed it….with things like crowdfunded platforms to make music, and to sell it…look at the grime scene…NB revealed excitedly that the internet has certainly been his friend.

We’re in a new Internet age – music Spikes don’t come from just old skool traditional methods. This whole area is a new highway, NB discussed new ways of highlighting and bringing attention to his artists songs.

Last week a new BPI report GENERATION Z-MEET THE YOUNG MILENIALS, showed that young people are happy to pay for music…which will come as a relief to spotify!

We finished the interview with future looking fun where NB confessed he has music sound tracks for films as well as a Naughty Burger chain coming soon. ”it will be the unhealthiest burger that ever existed”. Thats naughty.

With NB’S obsession with cats- big and small- he has a gorgeous ginger cat called Barry who lives and engages with music stars in his studio and who is chauffeured on occasion for a blueberry facial at Harrods. The good life!



Then we all bundled into the car to head to Covent Gardens Relentless Studios to hear Manchester’s grime star Bugzy Malone talk us through tracks from his new album. KISSFM DJ Rude Kid moderated a chat where Bugzy told the crowd about the working conditions around his new album KING OF THE NORTH and also played us his new video for BRUCE WAYNE.


The crowd was fed by delicious caribbean food from DUB PLATES KITCHEN and then we all rolled out for the final destination for the evening….

Our last stop was as super nightclub TRAMP for the FIRST ACCESS ENTERTAINMENT summer party thrown by uber don music lady Sarah Stennett.
Stennett, whose stellar 20-year music biz career as a lawyer, A&R executive and artist manager has seen her become one of the UK’s leading executives and launch/develop the careers of artists including Ellie Goulding, Iggy Azalea, Jessie J, Zayn Malik and Rita Ora.


The party was popping before 9pm with a super cool crowd of young starlets, models, fashionistas, hip hop crowd and Soul singer Ray Black smashed it with a powerful set of her hits.
A photo booth and the best R&B DJ’S meant we were all dancing hard and having fun till the early hours.

A great day of celebrating the music industry in London town!

Jasmine’s Juice – Grime’s Magic Man – Abra Cadabra, On ”Jeremy” And Being ”Differontos”.


Congratulations on your journey so far- how’s the ride been from Tottenham, North London to national focus?

Thank you! its been a crazy journey so far and it’s all happening so fast… There is a lot more work for me to do though and I’ll keep on pushing and hopefully people continue to like what I do.

2016 saw you break through with numerous big moments from awards and viral singles, what would you say was your first big break?

Man’s first break came with me doing the Black Box Freestyle and then Krept & Konan reaching out and jumping on the remix. Its been mad since then.

Abra Cadabra | BL@CKBOX

You’re a Tottenham lad, what is it about Tottenham that breeds so many great music names?

Tottenham has a lot of talent and us younger people sometimes get forgotten about – Kush and Poppy & Legz, for example. But Tottenham has nurtured and will continue to nurture the best.

Tottenham’s also a hotbed for activism after the infamous riots and social housing communities. London has recently seen attacks and the Grenfell Tower disaster, but music acts far and wide like Akala, Low-key, Lily Allen and more have spoken about rights for working class communities. What do you make of it all? Does society care less about poor people?

Of course I think society cares less about poor people. They don’t give a damn about us.

This past election saw more young people than ever all across the UK become interested in voting and politics, what do you think has happened in recent months to make that happen?

It’s all in the campaign, LOL.

Rap music has always been political with Americas first rappers talking about their social conditions and the system. In 2017 should music stars still speak about politics?

Yeah, but everyone should speak their own opinion.

Why does grime love Jeremy Corbyn?

He rates and respects young people.



Your award winning single Robbery grew in popularity from word of mouth, the grime music scene has shown how they are powerful without a music label, what are your thoughts on signing to a major vs being an independent artist?

I think each situation can work for different artists – If you’re doing your ‘ting proper and independent and making dough you would only sign to a label if they can prove that they can change the whole situation and make you more money than you’re making and I wouldn’t even call my kinda music grime. There’s no one way to define but I’d categorise as my own sound…… differontos.

Abra Cadabra ft. Krept & Konan – Robbery Remix

Your appearance on Belly Squad’s Banana Remix saw you exploring the Afrobeats/rap axis…you clearly love experimenting and are open to new sounds…what other musical journey might we see Abra Cadabra take?

Man does every style, haha. I like melody so I’m always trying to new stuff… I just like experimenting with new sounds. I’ve got some stuff coming soon which will definitely surprise people. My latest sound I got with Danzey, another up and coming rapper from Tottenham. It’s called ‘Stay’ and I released it on my own channel. It briefly touches the Afro swing audience.

You’re cited as being one of the most exciting MC’s in the UK right now…(fusing afrobeats and rap, riding the murky UK version of drill), what way are you and your peers generally pursuing new directions?

We do a lot of collaborations with artists and producers so we are always bring new sounds in and trying new stuff. So man is always into new stuff.

You’re a MOBO best single winner, how important are the MOBO AWARDS to British black acts and what brand points does MOBO give you that no other UK awards do?

When man won the MOBO that was just weird, in a good way, coz I grew up watching it and thought that it was another world. So when I was a winner, it was another madness. The MOBO’s are so important, as they are part of the handful of award shows that has always supported and celebrated black music alongside Posty’s Grm award. Without them we wouldn’t be making the strides we are now. Every artist who does what we do wants to win a MOBO. Manz looking forward to this years MOBOS – it’s gonna be crazy.

The GRM / Rated Awards are also big for the grime generation, how has the GRM brand impacted your music and exposure?

Big up Rated Awards always . That was the first award I ever won. I was so shocked when my name got called out as the winner I jumped on Posty. It feels like so long ago when I made that infamous speech . Winning that award made me feel like I’m definitely on the right path. A lot of people reached out after that win.


Many American artists are taking an interest in the U.K. market, with names like Drake featuring Giggs on his More Life playlist. If you could collaborate with any American name this coming year, who would it be and why?

It would have to be…… it’s a difficult one… let me think about it and get back to you in 2 working days loool

British rappers used to really care about making it in America, do you still?

I think now we just believe in ourselves more now and we know that we are sick at what we do and we don’t need approval anymore. Obviously man wants to have success in America, like every artist does, but one step at a time.

What makes British acts so cool and innovative?

We are just real and don’t change for anyone and I think people respect that.

Whats coming next for Abra Cadabra?

Lots of stuff happening. I’m gonna be dropping more videos over the next few months, you’ll see some more collabs also. I’m gonna continue performing live at all these festivals over the summer. Go subscribe to my YouTube channel if you want to stay updated. But big shout outs to Fais and Wize – two people that play big parts in my career who are the unsung heroes and I’d like to end by sending my condolences to Uncle Ounto who recently lost his brother to knife crime.

Jasmine’s Juice -‘Generation Z: Meet the Young Millennials’

Okayyyy, we all know that the world is now digital.
Millennials have taken the digital baton and sprinted ahead with it, doing for themselves today what was once impossible.
Used to be that the establishment and old skool gate-keepers would decide who, what, when and why things would happen.
Nowadays the current generation of young people are building their empires online via their own special style of disruptive marketing.
The internet and digital movements have opened up a world where anyone with a it of tech-savvy know-how can make it and the industry this is most apparent in is music.

Music is the most widely watched content type among 12-15 year olds on YouTube, though YouTubers like Zoella and KSI are becoming the new pop stars for Gen Z

85% of 16-19 year olds say that music is an important part of their life while 74% say that music for
them is about going out and having fun.

Music record labels, PR teams, radio playlists and event management teams have been forced to look at digital platforms and work alongside them instead of competing with them.

Yesterday saw labels association the BPI and entertainment retail body ERA host a joint Insight Session which will see Mark Mulligan of MiDiA Research unveil a report into Generation Z: Meet the Young Millennials, which explores the music consumption habits and social media behaviour of today’s young Millennials.

The report found that teens value video platforms for music discovery and social engagement, but, as they develop as music consumers, look to audio streaming services and are more prepared to pay for music

Also, the report for BPI/ERA explores the music consumption habits and social media behaviour of today’s young Millennials (aged up to 19) and how their engagement across streaming and video platforms and social media and messaging apps, including Instagram, Snapchat and Musical.ly, is shaping longer-term trends.

It finds that YouTube still dominates in the social media space
The research finds that for today’s tweens and teenagers YouTube is a pervasive platform – not only for new music and content and access to influential YouTubers like Zoella, but for social engagement also. YouTube plays a key role as “a video destination, music app, social platform and educational resource rolled into one”.

Similarly, messaging apps have replaced social networks…..
Messaging apps including Snapchat and Instagram are becoming increasingly important, replacing social networks for Generation Z and enabling them to act on their impulse to “live in the moment” and “narrate their lives”. As such they help build engagement around music and artist profiles.

More recent apps like Musical.ly and Dubsmash – video social network apps for video creation and messaging – are also growing in popularity. This is in part due to a rate of app innovation that is accelerating thanks to the “Millennial feedback loop” of older millennials shaping app experiences for the younger Gen Z.

But Spotify dominates music space and drives discovery…
The research additionally shows that, as teenagers develop as music consumers, they are likely to be drawn to audio streaming services such as Spotify, Deezer and Apple Music. For those aged 16-19 Spotify is overtaking YouTube as the main music app, with 53 per cent weekly user penetration compared to 47 per cent for YouTube.

This helps to underline another finding highlighted in the report from previous MiDiA research showing that younger consumers (16-19 years: 67%) are more prepared to pay for music than other age groups (56%).

Streaming is, however, also transforming UK Teens’ relationship with music, with Millennials increasingly accessing individual tracks or playlists rather than engaging with artists or albums See LINK XX to full report and key summary findings below.

Geoff Taylor, Chief Executive BPI & BRIT Awards, said: “If we are going to prepare for the future of music, we need to better understand Generation Z and the influences that shape their engagement with music. These young digital natives are not only important as a key segment of the market, but the way they interact with music helps to unveil trends that will become more widespread among music fans over time.”

Kim Bayley, Chief Executive ERA, said: “It’s not news that entertainment is changing, but none of us should underestimate the achievement of the streaming revolution. Not only has it helped stop piracy in its tracks, it has created the first real growth in the music industry in more than a decade and has done so with an unbeatable consumer proposition: 24/7 access to virtually all the music in the world. In the fast-paced digital world, however, nothing is forever and it is vital to stay close to emerging generations of music fans, many of whom were not even born at the dawn of the MP3 age.”

Generation Z: Meet the Young Millennials – Summary of Key findings:

· 85% of 16-19 year olds say that music is an important part of their life.
· Authenticity, relevance, shareability and context are key to Gen Z.
· YouTube is the most pervasive entertainment platform for Gen Z, peaking at 94% monthly penetration among 16-19 year olds.
· However, for these 16-19 year olds, as interest in music develops, Spotify is overtaking YouTube as the main music app, with 53% weekly user penetration compared to 47% for YouTube.
· Music is the most widely watched content type among 12-15 year olds on YouTube, with YouTubers such as Zoella (11.8m subscribers) and KSI (16.1m) becoming the new pop stars for Gen Z.
· UK teens (16-19 years) are more willing to pay for music. 67% consider it to be worth paying for regularly compared to 56% of overall consumers.
· A third of 8-11 year olds in the UK use Snapchat, rising to 67% for 16-19 year olds, while 63% of 16-19 year olds use Instagram.
· Messaging apps like Snapchat and Instagram are replacing social networks for Gen Z.
· Among 16-19 year olds YouTube and social media unsurprisingly dominate, with much higher penetration rates than the overall population.
· Streaming is transforming Gen Z’s relationship with music: 74% of all 16-19 year olds say they are mainly listening to single tracks and playlists instead of albums.
· 71% of 16-19 year olds listen to music radio on an at least monthly basis, just 3 percentage points above the all-ages average.

Table 1: Weekly use of music apps by UK teens (compared to all users average), December 2016

Table 2: Snapshot of Gen Z social media useage