‘I'm a product of my environment…So my music, course it's violent’, Two Warring Ideals: What can UK Drill Music teach us about the relationship between young black males and neoliberalism?

‘I'm a product of my environment…So my music, course it's violent’, Two Warring Ideals: What can UK Drill Music teach us about the relationship between young black males and neoliberalism? Jaya Gordon-Moore

Abstract

With inequality, knife crime, mental health issues and UK Drill music (UDM) rising simultaneously, there is undoubtedly a sense of discontent in the UK today. Alongside this, neoliberalism has been the forefront of British politics for almost 50 years. Through a thematic analysis of UK Drill lyrics, this dissertation investigates the impacts of neoliberalism on the mindsets and experiences of young black socioeconomically disadvantaged males. UDM is dominated by young black impoverished males, who at the same time are impacted the most by neoliberal enforced austerity policies. Exploring the relationship between neoliberalism and the emergence and criminalisation of UDM, I found that young black males’ identity in neoliberal Britain can be understood through Du Bois double consciousness. On the one hand they identify as the British narcissistic neoliberal, conspicuously consuming for the most respect and power. On the other, the young black criminal, excluded and demonised in society, turning to the pressures of consumerism and illegitimacy to be successful.

Table of contents

ABSTRACT 1

TABLE OF CONTENTS 2

INTRODUCTION 3

LITERATURE REVIEW 5

NEOLIBERAL BRITAIN 5

CRIME 6

DISCONTENT 6

CONSUMERISM & MERITOCRACY 7

HIP HOP CULTURE (HHC) AND NEOLIBERALISM 8

THE EMERGENCE AND CRIMINALISATION OF UK DRILL 9

METHODOLOGY 14

EPISTEMOLOGY 14

THEORETICAL FRAMEWORK AND ONTOLOGY 15

SOCIAL CONSTRUCTIONISM, LANGUAGE AND SEMIOTICS 15

POWER, HEGEMONY AND IDEOLOGY 17

THEMATIC ANALYSIS 17

ETHICS AND REFLEXIVITY 18

GATHERING MY DATA 19

THEMATIC ANALYSIS (TA) PROCEDURE: BRAUN & CLARKE’S (2006) MODEL 19

REFLECTING ON METHODOLOGY: 20

VALIDITY AND RELIABILITY 21

FINDINGS & DISCUSSION 22

CONSUMERISM AND SUCCESS 24

CONSPICUOUS CONSUMERISM AND HYPER MATERIALISM 24

MERITOCRACY & URGENCY 26

STREET CODES, VIOLENCE AND MASCULINITY 27

STREET CODES AND VIOLENCE 27

BLACK HYPER MASCULINITY 29

BROTHERHOOD 31

INDIVIDUALISATION AND DISCONTENT 33

PERSONAL RESPONSIBILITY 34

POLICE AND INJUSTICE 34

TRAPPED IN DISENFRANCHISEMENT 36

FURTHER DISCUSSION AND CONCLUSION 39

TWO WARRING IDEALS 40

REFERENCES 44

APPENDICES 57

GLOSSARY 96

Introduction

Neoliberalism has not only influenced politics and the economy but brought the logic of capitalism and free markets int o every part of social life. Reviewing literature, we can see the extent that neoliberalism has been the forefront of politics and everyday lives, and how this has increased inequality, disproportionately impacting young black impoverished males. UK Drill Music (UDM) is a UK rap style, a subgenre of Hip Hop (HH), influenced heavily by Chicago drill, categorised by its gritty and violent lyrics, and sinister instrumentals. Despite the influx of media reports on the negative implications of UDM, only one academic report has been written on the genre. I wanted to gain a better understanding of this ever growing genre, looking into the thoughts and feelings of the artists themselves. UDM has been linked to knife crime and austerity cuts, but there has been no in depth analysis of the influence of the neoliberalism. What can UDM teach us about the relationship between young black males and neoliberalism? Are lyrics being a useful site to understand the subculture further? To what extent do the artists mentalities and experiences correlate with research done on neoliberalism previously?

Lambros Fatsis (2019) report, ‘Policing the beats: The criminalisation of UK drill…’, explores the accusations around UDM encouraging criminal behaviour among Black youth in deprived areas of Britain, demonstrating how UK Drill (UD) has been criminalised like other genres in black culture and questioning the discriminatory nature of policing young black people (Fatsis, 2019). Although he makes good points about the othering of black culture and how the processes of neoliberalism ‘punish people rather than improving places’ (Klinenberg, 2018:59-61 in Fatsis, 2019: 1310), I wanted to look more closely at how UD lyrics reflect the discontent and exclusion of neoliberalism through violence and rejection of authority, but also the internalisation of neoliberal attitudes through hyper materialism and the reproduction market attitudes, and reductionist identities.

This topic is relevant as UDM is extremely popular among youth, across social media and mainstream UK music charts. Alongside this, there has been an increase in knife crime, youth crime, mental illness, public spending cuts and marketisation. Gaining an insight into UDM could help us understand the experiences of the social groups these issues are affecting the most and help us understand what needs to be tackled and what policies of community interventions need to be put in place to tackle them. Additionally, studying this topic will hopefully build a bridge between an excluded misunderstood culture and the rest of society. It can help us understand the value of UDM, what it means to the artists, and how it can potentially be used for positive social change.

In chapter two I review the literature around neoliberal Britain, HHC and UDM and their relationship with each other. In chapter three I explain my methodology choice, epistemology, theoretical framework and procedure. In chapters four up to seven I introduce and analyse my themes and data. In chapter eight I summarise my dissertation and reflect on the social and political implications of my findings.

Literature Review

Neoliberal Britain

Since the Oil Crisis and Thatcherism (1979-1990), all the way to Boris Johnson (2019- present), neoliberalism has been imposed fiercely, enforcing marketisation, privatisation and austerity cuts across the UK, based on the premise that an unregulated capitalistic market is desirable as it allows free individual choice, leading to maximised profits and efficiency (Glennerster, 2016:134; Hall, 2011:17, 25; Jones, 2016:10; Türken et al, 2015:34; Kennedy, 2014; Wiggan, 2016; BBC News, 2017; Conservatives.com, 2017; Kimber, 2019). Helping shape the neoliberal philosophy, Adam Smith (1766) argued that free markets, individual autonomy and responsibility should be prioritised completely over state interventions and the redistribution of resources (Kennedy, 2014; Sikka, 2014:3). Therefore, public spending should be reduced whilst privatisation should encourage competition (Kennedy, 2014; Sikka, 2015:3). Furthermore, neoliberalism has provided an ethos of what is deemed to be successful in society, emphasising the need for individual responsibility in pursuit of private wealth and consumption (Sikka, 2015:4). As the market is prioritised over the state, incumbent corporations can cement their place in markets by preventing competition through monopolistic practices and influencing the government media and political financing (Rustin, 2014:8).

The implications have been significant in the UK, with public spending cuts hitting local councils unfavourably, leading to the closure of thousands of youth clubs, libraries and children centres across the UK (Maguire & Chakelian, 2018; UNISON, 2019). Marketisation has dominated educational values as schools are under less regulation as consumer choice takes the forefront, leading to ethnic minorities and working-class pupils to be further disadvantaged as they are ‘off-loaded’ to maintain impressive league tables and save money (Turner, 2015:12-13; Rustin, 2014:5-6). The Office for National Statistics report that the number of young people (aged 16-24) not in education, employment or training in January to March 2019 had increased by 14,000 compared to those in the same position between April and June 2018 (ONS, 2019). In regard to political participation, Hart & Henn (2017) argue increasing inequalities and less state intervention has led young people to see less meaning in civil servants, lacking trust in their legitimacy (Hart & Henn, 2017).

Crime

The Criminal Justice System (CJS) has been privatised, teaching offenders’ that their crime is their private pathological problem and therefore their own responsibility, dismissing the idea that crime can be a wider issue (Turner, 2015:9, 12; Fisher, 2006:55). Whilst cuts have impacted disadvantaged groups more, simultaneously they have been demonised (Murray, 2015:10-11; Fatsis, 2019:1301; Calvente, 2017:128). Young black men are more likely to be stopped and searched than any other ethnic group (GOV.UK, 2020; Wylie, 2018; Keeling, 2017) Alongside this, they are more likely to be subject to poverty, unemployment, crime and cuts in youth services (Fisher & Nandi, 2015; Youth Justice Board / Ministry of Justice, 2019). Lack of funds and resources in police services and the closure of youth services has made it difficult for the police to tackle crime in our digital age (Treadwell,2018, Dearden, 2018). Furthermore, as Supt Darius Hemmatpour of Scotland Yard’s violent crime task force said, ‘People on the edge of criminality may have previously had an intervention that may have diverted them away, but with the loss of those services that intervention was not there’ (Dodd, 2019).

Discontent

Austerity cuts and the exclusion of mental health discussions in public policy has damaged mental health services (MHS) in numerous areas leading to the use of CJS in mental health care and pressures on community-based action (Cummins, 2018; Elliot, 2016:10-11). In the UK, one in four adults, and one in ten children experience mental health issues (MHI) at some point, impacting individuals’ relationships across their social networks (Elliot, 2016:5). Discourse suggests that MHI are not bound to individuals’ minds, but are also determined by social, economic, cultural, political and environmental factors such as living standards, social security and social relationships (Elliot, 2016:15-16; ONS, 2004; Cummins, 2018; Silva et al, 2016; King et al, 2019:1). The pressures and stress that comes with living in poverty, such as unreliable employment, contribute significantly to poor mental health, causing individuals to feel like failures for needing dependency in a self-reliant environment (Cummins, 2018; Rustin, 2014:18).

Consumerism & meritocracy

The values of neoliberalism form a core part of who we are as an individual, encouraging competitiveness and self-reliance. Dependency is synonymous with failure and one’s success is determined by their ability to prosper independently (Rustin, 2014:18). Based on meritocracy, the idea that individuals work for their success, neoliberalism individualises social issues, deeming those who are unsuccessful as not working hard enough. This takes ideas from Social Darwinism, the belief that one’s problems arise due to lack of competition and strength, or because of personal biological or cultural failings (Harvey, 2009:67). The consumer is the producer of their own satisfaction and consumption is a key part in the construction of one’s identity (Castro, 2015:278). How one portrays themselves via consumption has become more important than ever (Treadwell et al, 2012:11). Consumerism becomes an ideology where the meaning of life can be found by purchasing things, encouraged through advertisements (Firat et al, 2013;190). What we consume determines how we interpret and communicate with each other through processes of social classification and differentiation, where consumer styles are classified into the desirable and the undesirable (Firat et al, 2013:184). Whilst leisure used to connote freedom, it is now defined by consumerism, competitiveness, desire and pretentiousness (Firat et al, 2013:185).

Hip Hop culture (HHC) and neoliberalism

As it is difficult to find discourse regarding UK rap music and its relationship with dominant ideologies, looking at arguments around HHC, youth culture and neoliberalism can be insightful as UDM is a product of HHC. Originating in South Bronx in the 1970’s, HH is a black working-class male-dominated genre worldwide, taking styles from other traditional African American music like jazz and reggae (Blanchard, 1999; Brook & Conroy, 2010:5; Campion, 2004; Persuad, 2011:630). HH’s popularity grew significantly in the 1990s worldwide and artists began to indulge more in consumerism (Love, 2016:414). With this, commentators argue that it’s content has been ‘dumbed down’ to be enjoyed by dominant culture, as critical music does not sell as well (Mohammed, 2010:9; Brook & Conroy, 2011:4; Speer, 2014:715; Blanchard, 1999; Hunter, 2011:16; Jenkins, 2011:1238).

bell hooks (2015) argues that most working-class black youth learn through mass media and one-sided education systems. Led to the internalisation of ‘imperialist white-supremacist patriarch culture’ (hooks, 2015:4). Other critical theorists also argue that commodities are seen as desirable in neoliberal society as they are depicted as a way of achieving the American dream (Baldwin, 1999:193; hooks, 2014:41; Calvente, 2017:126). To gain mainstream popularity in HHC, one needs to play the part. Black people are exploited through consumption, sold as a way for them to access power, freedom and the marketplace (Podoshen et al, 2014:275; West, 1993:14; hooks, 2014:41; Baldwin, 1999:193; Calvente, 2017:126). This encourages stigmatisation of black people, reducing them to nihilistic, materialistic criminals. Any alternative ideas of what it means to be black are rejected, decreasing authentic representation.

The emergence and criminalisation of UK Drill

Since 2018, UDM has been extremely prominent in UK Rap, taking influence from various HH styles such as Chicago Drill and Road Rap, sharing the harsh realities of disadvantaged youth, with lyrics incorporating materialistic, criminalistic and nihilistic themes (Thapar, 2017; Lindsay, 2018; Fatsis, 2019:1302; Virk, 2019; Officialcharts.com, 2019). Alongside its popularity, UDM has been the forefront of recent discussions regarding youth violence, crime and other social issues (Thapar, 2018; Samson, 2018; Simon, 2019; Barker, 2019; Independent, 2019). Commentators like the Metropolitan Police have advocated for UDM to be banned, arguing it glorifies and reproduces gang culture (Samson, 2018; Beaumont-Thomas, 2018; Fatsis, 2019:1300-1303; Dearden, 2018; Simon, 2019; Savage, 2019; Virk, 2019; GOV.UK, 2018; Independent, 2019, Monroe, 2019, Aubrey, 2019; Hancox. 2019). Companies and organisations such as BBC Xtra and Puma have been called out for encouraging UD and gangster lifestyles, creating pop up shops called ‘trap house’ and inviting Drill artists to be payed to perform (Samson, 2018). Several commentators have debated whether the rise of UDM has caused the increase in knife crime in Britain today (Kirby, 2018; Savage, 2020; Beaumont Thomas, 2018). Additionally, there have been many reports of UK Drill artists (UDA’s) being involved in murders and stabbings across the UK (mostly London) since the genre’s emergence (Cobain, 2018; Burrows, 2018; Austin, 2019)

To tackle UDM, the Met Police have removed over 100 UDM videos off YouTube (Simon, 2019; Savage, 2019; Virk, 2019; Fatsis, 2019:1303). Furthermore, police have used UD as evidence in criminal investigations and court proceedings (Fatsis, 2019:1302). After numerous stabbings and shootings connected to drill artists, policies and criminal justice strategies have been put in place, including the Serious Violence Strategy policy, claiming to tackle drug misuse, support communities and use law enforcement and criminal justice responses (GOV.UK, 2018). Nevertheless, it has been condemned for ignoring victims and being, ‘silent on deterrence’, contributing to the racial profiling of young black men (BBC News, 2019; Thapar, 2018; Fatsis, 2019:1303; Fekete, 2018). UDM can be a way for black youth to ‘make sense of a neglectful national’, an understandable cry for help, connecting people in a society built on divides (Thapar, 2018; Abiade, 2018). The lyrical content thus connotes the ‘harshness of these rappers’ respective neighbourhoods’ (Abiade, 2018).

Numerous writers have suggested that UDM has been targeted as a moral panic (Cohen, 2011; Thapar, 2018; Myers et al, 2018; Beaumont-Thomas, 2018; Amrani, 2018; Fatsis, 2019). Instead of attempting to understand and get to the root of causes of structural impacts on knife crime and gang violence, institutions in society have used UDM as a scapegoat. This echoes previous moral panics surrounding black people in western countries throughout history (Gilroy, 2002:95; Hall et al, 2013; Fatsis, 2019:1306; Persaud, 2011; McWhorter, 2003). Hall et al (2013) show how in the 1970’s, the rise of mugging in Britain became a moral panic that almost exclusively targeted black youth, justifying dominant ideologies and political agendas racializing crime (Hall et al, 2013). These stereotypes have led to urban crime being synonymous with black crime, ignoring the positive aspects of HHC (Jenkins, 2011:1235; Mohammed, 2010:36; Boyd, 1994:373-5; Calvente, 2017:127). Rather than attempting to understand and get to the root causes of youth violence and crime, such as family issues, historical poverty and austerity, the media, government and CJS have targeted UD (Thapar, 2018). Successful UK Rap duo Krept and Konan argue that outlawing and stigmatising UDM will only force people back into criminal lifestyles, ‘before music, there was just jails, gangs, and getting arrested’ says Konan (Savage, 2019).

Neoliberalism’s ideology relies on racial exclusion and discriminatory politics to disenfranchise disadvantaged social groups and justify the pathologizing of black youth (Fatsis, 2019:1301; Cavante, 2017:128). Fatsis (2019) concludes that the criminalisation of UD not only reveals an ‘ideological reluctance’ to properly fund social welfare policies, but also shows the denial of the stigmatisation and marginalisation that criminal justice strategies and state policies cause, ‘often attributing such decline to a lack of civility and a cultural propensity for gang violence, instead of the state’s reckless disregard for the safety of its citizens.’ (Fatsis, 2019:1303, 1310). HHC has always received bad press, criticised for being tasteless and lacking moral value, reinforcing the alienation of black people (Persuad, 2011:629; McWhorter, 2003). Lisa Calvente (2017) suggests it is a scapegoat of neoliberalism, epitomising the othering of black people, ‘the response to the New York City fiscal crisis catapulted urban neoliberalism as HH became emblematic of black criminality and urban moral crisis’ to distract people from government reforms that had dismantled public infrastructures (Calvente, 2017:128).

HHC’s undeniably rooted in the cultural narrative of black peoples experience, sharing structural, economic, political and historical concerns of many black people (Persaud, 2011:627; Quick, 2011:1; Speer, 2014:714; Nyawalo, 2013:464; Boyd, 1994:374; McCann, 2016:8; Gilroy, 1993:76; Birkkhold, 2011:316-318; Calvente, 2017:127). HH gives a voice to oppressed people worldwide, provoking political and socially conscious change (Gothelf, 2015:110-111; Kitwana, 2002:397). Focusing on the educational strengths of Hip Hop, Gosine and Tabi (2016) argue that it is a useful tool in teaching individuals to use critical language and be critical thinkers. It, is a way to counteract individualistic merit focused schooling, encouraging community and social and political awareness (Gosine & Tabi, 2016:454).

Similarly, within UDM, artists such as ‘The Hope Dealers’ have been inspiring social change, combining faith, politics and music (Virk, 2019; Thapar, 2018; Fatsis, 2019:1303). UDA and activist Drillminister has become Drill’s first London Mayor candidate 2020, claiming he is fighting against discrimination in the media that demonizes several social groups, such as young working class black men, claiming that politicians fail to represent real voters, ‘the streets ain’t never had no voice’ (White, 2020; Drillminister, 2020; BBC News, 2020). On one song, Drillminister used violent quotes from politicians to highlight the hypocrisy of their criticism of UDM. Despite the powerful message, viewers mocked him for wearing a mask on his face, and the message was disregarded due to his appearance (Robertson, 2018; Drillminister, 2020). UDM allows mass audiences to take a glimpse into the experiences of inequality and social marginalization that disproportionately impacts young black people. It sheds light on the unfair criminalisation of young black people and their form of expression (Fatsis, 2019: 1301). Furthermore, UD has offered numerous impoverished black people a chance to be economically successful, giving them a chance to move up the social mobility ladder, ‘Where the police see terrorism, I see uncaptured promise, determination, and resilience’ (Thapar, 2018).

This literature is useful in understanding neoliberalism in context with our focus group, young black socioeconomically deprived males and an insight into neoliberal Britain as an environment. Moreover, it shows us the origins of UDM, helping us understand the genre in relation to violence, race and inequality.

Methodology

Using Thematic Analysis (TA), I analysed ten UD songs in hope of understanding the genre in more depth, and the relationship between it and neoliberalism. The aim was to explore the phenomenon, it’s themes, and where it sits in its social and cultural context. Looking at the attitudes, thoughts and feelings expressed by the artists, and relating them back to neoliberalism. UDM is a useful site when examining the experiences and feelings of black socioeconomically deprived youth because as a product of HHC it can be seen as an expression of black identities, and a means to share multiple concerns across the black community, giving them a sense of empowerment in a world that typically subordinates them (Persaud, 2011:627; Quick, 2011:1; Speer, 2014:714; Nyawalo, 2013:464; Boyd, 1994:374; McCann, 2016:8; Gilroy, 1993:76; Birkkhold, 2011:316-318; Calvente, 2017:127; Gothelf, 2015:110-111; Blanchard, 1999). Alongside this UDM was birthed in neoliberal Britain and so is helpful site to understand the relationship between political and social movements and black British culture.

Epistemology

An empirical study can provide deep contextual data, increasing our understanding of a relatively new phenomenon. Research in the past has frequently tried to quantify the relationship between music and human behaviour, failing to give us an insight into meanings behind actions, only showing us cause-and-effect relationships. An interpretivist qualitative approach enables me to understand the meanings behind words, actions and interactions, helping me achieve ‘verstehen’ (Queuró, 2017:370; Bryman, 2016:26-27). Statistics show that crime, impoverishment, discontent, marketisation and austerity is increasing simultaneously with UDM’s popularity, but do not provide us with clear reasons and meaning behind this correlation.

Language is a crucial part of communication and so analysing lyrics is useful because it provides a direct insight into disadvantaged youth experiences and how they perceive, interpret, and reflect dominant ideologies, turning to music to express themselves (Johnson et al, 2017:2, 10). Songs are typically written for a specific audience, to convey particular messages for particular reasons, allowing us to have a first-hand view of an underrepresented social group (Putri & Triyono, 2018:119;). Music is an important source of identity and collective meaning in today’s society. Lyrics are a form of social commentary, establishing shared meanings and social values to an audience. Moreover, it has the potential to fill the ever-growing lack of understanding between professionals and youth.

Theoretical framework and ontology

I am arguing that neoliberalism is a hegemonic ideology in the UK that UDM is a socially constructed product of. Using intersectional social constructionism semiotics, and hegemonic ideology as a concept I was able to critically engage in the reflexive nature both UDM and neoliberalism, their relationship; how ideas are accepted, subordinated, demonised and encouraged through the power of knowledge and language, signifiers, connotations and denotations.

Social constructionism, language and semiotics

Considering social constructionist standpoint, I argue that reality is an ongoing reflexive process that is reproduced and maintained by people acting based on their interpretation and knowledge of reality (Berger & Luckman, 1991:33). Social constructionist attempt to unpack the ways in which individuals engage in the construction of their social realities, looking at the ways dominant social phenomena’s such as neoliberalism are created, institutionalised and maintained (Berger & Luckman, 1991:209). This is not to say that properties of society are not real or do not have real consequences but that there are constructions we dismiss, shaped by socially and culturally constructed knowledge, through which individuals create meaning and interact (Berger & Luckman, 1991:84). Taking a intersectional social constructionist approach, I will be shedding light on the ways experiences and levels of inequality, difference and power are dependent on aspects of identity (Fisher, 2006:55; Squires, 2009:497; Walby et al, 2012:225; Crenshaw, 1989; hooks, 2014; Collins, 2000; Brah & Phoenix, 2004). Looking at how reality is constructed through an intersectional lens is helpful in understanding socioeconomically deprived groups experiences, assuming that experiences in life are constructed by identity factors such as whether you are black, male and working class.

Semiotics focus on language, signs and symbols and how they communicate messages or develop meaning is helpful when looking at social constructions. Semiologist Ferdinand De Saussure (1957-1913) argued that language is full of signs that communicate meaning. These signs are bilateral; containing the signifier (the word itself e.g. money) and the signifier (concept or idea it indicates e.g. wealth) (Jensen, 1015:594). Semiology considers the denotations of language, referring to literal meanings of a word and connotations referring to the feelings, attitudes, meanings and emotions the word reflects, helping us explore ideological messages, the cultural meaning of discourse, and the relationship between our social and cultural conventions and the way we communicate and consume. Analysing my lyrics carefully, I will be looking for signs, symbols, denotations and connotations and how they shape meaning.

Power, hegemony and ideology

Michel Foucault (2008) famously critiqued neoliberalism using his concept of Governmentality, where individuals internalize the neoliberal ideology, leading them to feel like they are autonomous agents, when they are really only free within the constraints of neoliberalism’s sense of choice, responsibility and competitiveness (Türken et al, 2015:330; Hart & Henn, 2017). The hegemonic nature of neoliberalism has caused an increase in feelings of uncertainty, insecurity and anxiety (Elliot, 2016:10; Gammon, 2012:518; Neilson, 2015:197). Ideologies have the capacity to influence and guide political action, shape material life, and provide individuals with beliefs and value. Shaped by social and historical context and experiences, usually associated with particular social classes, ideologies create belonging and solidarity for groups who identify with the ideology but also bind together those who contest or have differing ideas (Fairclough, 1995:17). The concept of hegemony is also useful as it unpicks how Neoliberalism is product of the economic and social interests of dominant classes, universalised across Britain, ‘As well as promoting the market not only the economic but also political feels, neoliberalism is implicated in an ideological battle for hearts and minds over everything, influencing the very language that is used mundanely’ (McGuigan, 2014:225; Bocock, 1986:12).

Thematic Analysis

Thematic analysis (TA) identifies patterns and analyses themes within data, evaluating the occurrence of particular words, notions and ideas (Braun & Clarke: 2006:79; Johnson et al, 2017; Maguire & Delahunt, 2017:3354; Guest et al, 2012:10). As my epistemology assumes that language does not have neutral meaning, I am going to be using TA to draw out attitudes and meaning, enabling me to critically analyse the relationship between UDM and neoliberalism. TA is flexible, describing data in rich detail, allowing a range of aspects to be explored and providing a detailed and complex analysis of data that has rarely been explored (Braun & Clarke: 2006:78; Maguire & Delahunt, 2017:3352). It provides an in depth but breadth scope into the artists thoughts and feelings, reflecting those of the social groups they identify with. Several analyses used to look at HHC only look at themes that are providing explicitly through language without providing critical context into the analysis (Johnson et al, 2017:3). My methodology and epistemology bridges this gap, providing in-depth analysis of both the denotations and connotations of discourse, the themes that arise, and how they relate to the wider social and cultural context, allowing us to look at the multidimensional aspects that are involved in how language is distributed, consumed and what is says about wider social practices, ideology and subordination (Fairclough, 1995:19, 159; Acosta, 2018:60).. TA has the ability to summarize key ideas in large data sets, making the researcher undertake clear structured approaches to data, helping to produce more reliable data that can be replicated. Nevertheless, taking a qualitative approach can be difficult to apply and draw conclusions from as it can be too unstructured and flexible (Gibbs & Bankhead-Greene, 1997:42). TA has been approached in multiple types of ways and has involved many different procedures so is difficult to know which is best. It has also been critiqued for relying too much on the researcher’s interpretation, which could lead to unreliability and lack of internal validity. Theoretical positions and procedures had to be clear and reflexive throughout (Braun & Clarke, 2006;82; Guest et al, 2012:10; Fairclough, 1995:19).

Ethics and reflexivity

TA of song lyrics avoids many ethical problems as it does not involve collecting data from human subjects. However, it does involve looking at discourse created by individuals, so it is important to avoid any deception when analysing data. Avoiding distorted results, I was reflexive when carrying out my research and acknowledged my own position, values and experience (Braun & Clarke, 2006:80-81; Bryman, 2016:141; Davies et al, 2004:70). To minimize errors, I considered how my experiences, identity and assumptions shaped my research (Mason, 2002:65). The Drill artists are primarily young black working-class men, typically deprived backgrounds. Besides being a sociology undergraduate, I am also a Jamaican-Irish female, who identifies with HHC. I share several common grounds with drill artists, which is an advantage as I may have more of an understanding of their positions (Chui & Knight, 2011:10). However, I needed to be careful that I am not being biased and keep an open mind.

Gathering my data

Using various chart websites, YouTube and streaming sites (Apple Music and Spotify), I identified 10 prominent UDA’s and chose their 5 most popular songs (Officialcharts.com, 2019; Last.fm, 2019; Red Bull, 2019; Capital XTRA, 2019; YouTube, 2020). Disregarding the songs that did not have lyrics available, I used a random sampler with the remainder to narrow down to 10 songs. To verify the lyrics of the songs before analysing, I cross checked using several lyric websites (Genius, 2020; azlyrics, 2020; Songlyrics.com, 2020).

Thematic Analysis (TA) Procedure: Braun & Clarke’s (2006) model

Once I verified my ten songs, I followed Braun & Clarke’s (2006) six step (phase) framework (Braun & Clarke, 2006:87):

Table 1: Phases of thematic analysis (Braun & Clarke, 2006:87):

Reflecting on methodology:

Using highlighters, and with the help of a few websites (Genius, 2020; Reddit, 2020; Urban Dictionary, 2020), I thoroughly analysed the songs, defining slang, and writing my initial ideas. After re-reading my data several times, I began to code, and think about potential themes. I then went through the entire data set again several times, and began to narrow down and refine ideas, thinking about how strongly each theme was portrayed across the data. I then began to define themes, looking at the story they tell, how they relate to neoliberalism, and why they are relevant to this study. To do this I generated several mind maps and wrote several drafts to make sure I’d explored every aspect I felt was worth exploring. This really helped me work out the relationship between the themes as well as what they say about black males and neoliberalism. After a lot of thought, I began to produce my report, giving each theme its own chapter and carefully selecting important extracts. I created a mind map to represent the overall relationship between neoliberalism and the focus group and explained the relationship between each theme. I created a table of all my data (See Data Set 1 in Appendices) and defined each theme, how they are portrayed, how they relate to neoliberalism, and examples.

Validity and reliability

The reviewing and defining themes stage of TA was crucial to making sure my research was plausible, ensuring there was enough data to support each theme. Moreover, the data corresponded well with my literature, which also indicated high external validity and credibility. My songs were randomly selected from 50 songs from distinguished UDA’s, increasing the external validity and generalisability of my results as these artists are the most popular and therefore (most likely) epitomise UDM well. The six step framework is easily replicated and gives my method a degree of stability. My reflexivity throughout the procedure enabled me to provide a more impartial analysis. Every song was approached the same and so my method of analysis was consistent. I went over the lyrics in great detail, rereading them several times during the first stages of my analysis to ensure trustworthiness. TA of discourse allowed me to ‘re-test’ and be flexible with no risk of manipulating my results. My social constructivist intersectional reflexive approach increases the validity of my study because it enabled me to consider multiple aspects of my data from multiple lens’, increasing both the rigor and representativeness of my results.

Nevertheless, instead of doing TA, I could have tried to get access to UDA’s, and conduct structured interviews with them. This could have made my data more reliable, as structured interviews are very easy to replicate, and more valid, as I would be speaking directly to the artists themselves. Additionally, my work could lack internal validity as although I crossed checked my lyrics, some lyrics may have been inaccurate. Although this could have been difficult, to increase the generalisability further, I could have conducted a triangulation study and combined methods to strengthen the accuracy. However, focusing on a smaller study of 10 songs and one method ensured depth and quality.

Findings & Discussion

Neoliberalism’s political doctrine is based on meritocracy and the belief that every individual is free to choose how they live and what they consume, and therefore holds responsibility for any consequences. Whilst reducing public spending and encouraging consumerism, competition and marketisation, neoliberalism ignores the structural disadvantages that negatively impact socioeconomically deprived young black males disproportionately, encouraging them to internalise the pressures of competition and individualism. This diagram summarises my findings, displaying the relationship between neoliberalism and UDM. Neoliberalism is based on the premise of freedom, independence and free market capitalism, encouraging private property, competitive markets and less state intervention. I split neoliberalism’s values into three categories;

- Individualism and meritocracy

- Marketisation and privatisation

- Consumerism and choice

These values are implemented through economic and political policy such as public service cuts, less welfare intervention, getting rid of price controls, deregulating markets and lowering trade barriers. The values are further implemented through ideology, instilled through the media and other state apparatuses (family, education, etc), for example, through emphasising person responsibility when I crime is committed and disregarding any other factors such as poor education and lack of opportunities. As neoliberalism is based on the premise that society is innately equal, as each of us have equal opportunities in the free market to be successful, it disregards deeply rooted disadvantages. This impacts young black males disproportionately, as they overrepresent those in socioeconomically deprived positions. The spatiality’s that these individuals grow up in are riddled with poverty and crime, and many see no option but to indulge in illegal and violent activity in order to make money. Feeling powerless and excluded by mainstream, many turn to music as a way to gain power, resist and escape difficult situations. In this music, they document their day-to-day experiences, lifestyles, struggles emotions and values from their perspective and understanding. When looking at the relationship between their lyrics, and neoliberalism, three interrelated themes arise;

1. Consumerism and success

2. Street codes, violence and masculinity

3. Individualism and discontent

In the next three chapters, I will be going into each in more depth.

Consumerism and success

Despite neoliberalism’s harsh cuts and policies impacting UDM’s social group (black working class males) the most, we can still see them conforming to neoliberal ideas around individualism, consumerism, self-interest and meritocracy in the data. The artists analysed seem to represent a microcosm of how neoliberalism pervasiveness trickles down to every subgroup of society, giving us an insight to the extent of its hegemony and domination, ‘consumerisms promise to elevate the subject above the everyday social world and compel others to look on in envy at the symbolic success of the self is rendered all the more attractive as its vivid transformative ideal stands out against the grey background of marginalization’ (Treadwell et al, 2012:8-9).

Conspicuous consumerism and hyper materialism

Jean Baudrillard (1998) points out that commodities are not only characterized by use value and exchange value, but by sign value (Baudrillard, 1998). Individuals communicate their needs and desires via consumption and people consume symbolically to reflect social class and lifestyles and commodities are used to gain prestige and status (Firat et al, 2013; 184, 194). Therefore, the items that people buy are used as a mark of style, prestige, luxury and power. Consumerism displays financial power, status and class while making other people jealous (Firat et al, 2013:185). The data was rich in references of expensive well-known brands and companies, whether through explicitly naming brands, ‘Dior, ‘Prada’ and ‘Louis’, or through imagery of well-known design:

‘See the green and red on my belts/ So you know that it came from Italy’ – DigDat, Air Force

The mention of location here also connotes the luxury aspect of the item possessed, and how it is only accessible to those who have the money and means to purchase it, ‘Fly out Toronto…I’m Champagne Papi, bottles in VIP’. This luxury lifestyle is further stressed by the reference to famous rapper Drake, through the use of his Instagram handle (‘Champagne Papi’). This emphasis of visible wealth and successfulness is an example of conspicuous consumption. Throughout the data the artists give us an insight into their expensive lifestyles to show us their wealth and higher social status. In contrast to the successful consumer, they portray their opposition as failures, suggesting that anyone who does not have money should be ashamed or embarrassed of themselves, ‘But its back to the money/And if you go broke, you’re stressin'’. Within neoliberalism they are what Bauman (2012) called a ‘flawed consumer’, unable to consume correctly, which is seen as a personal problem (Bauman, 2012:28). Hyper consumption here could reflect their need to break out of how black men are classified (Hayward & Yar, 2006:11). It could be seen as an attempt to be socially mobile and successful, contrasting how media consistently portrays young black men as innately flawed. Regardless of their exclusion from being able to advance in neoliberalism, they are, ‘deeply incorporated into consumer cultures imaginary social hierarchy whilst at the same time discarded by advanced capitalism’s global economic system and shorn of unifying political symbolism’ (Treadwell et al, 2012:14). All of the songs expressed hyper consumption of material items or weapons, reflecting consumerisms emphasis on more and more. Objects are used fast, disposed wastefully and replaced easily (Firat et al, 2013:194):

‘Got me a brand new whip/ Brand new bitch, brand new wap’ – K-Traps, Edgeware Road

Women are portrayed as something a man can possess, something that can be owned through phrases such as ‘take a next man’s boo’ and ‘(tek any girl). They are depicted as something one can buy, suggesting that women perform sexual favours for money. Here LD is suggesting that diamonds, connoting visible wealth, makes a women ejaculate, ‘With a brownin' she a hot one/ Diamonds turn her to a squirter’. Capitalism and patriarchy have always functioned hand in hand, and so neoliberalism and patriarchy work together to organise power and gender relations. Independence is based off masculine attributes, such as being strong and impartial. Therefore femininity, and in turn women, are defined by passive, dependent and by other weak attributes (Lister, 2003:71). These essentialist ideas alongside neoliberalism’s commitment to consumption has maintained and developed the objectification of women. Not only are women seen as naturally interested in luxury goods as consumers, but they are also objects of desire, commodities to be consumed and that symbolise status.

Meritocracy & urgency

There is a sense of urgency and need to keep working/trapping (drug dealing), ‘Have you ever done 28 days in the T still feeling like you’ve gotta go harder/ Scrape that shit so hard, swear I nearly broke that Pyrex’. Headie One stresses how he mixed so many drugs, that he almost broke his equipment. Money is displayed as a quick means to an end, ‘I mean business/ Been tryna get rich with quickness’. Neoliberalism rests on marketized solutions for our economy, prioritising free markets and individual autonomy over state intervention and redistribution of resources (Kennedy, 2014; Sikka, 2014:3). Any failure of this is deemed to be the individual’s responsibility. Markets are presumed to be meritocratic, self-regulating, fair and non-discriminatory, rewarding those who work hardest. With the pressure to be individually financially successful in conjunction with growing inequalities, and constant culturally mediated images of visible consumerism, the sense of urgency to make money independently is not surprising.

Street codes, violence and masculinity

Alongside consumerism and success, the data reveals the artists devotion to street codes, brotherhood, rivalries, death and violence. As Fatsis puts it, ‘[UK] drill music has emerged as the ‘soundtrack to London’s murders’’ (Fatsis, 2019:1300). As mentioned previously, UDM’s has been at the forefront of arguments around the increase in knife crime and youth violence. Throughout the songs analysed violence was prevalent, highlighting the pressure, tension and divides black males feel in impoverished neighbourhoods. Like how the artists internalise neoliberalism competition through hyper materialism, they indulge in competition through physical violence against opponents.

Street codes and violence

The data revealed specific yet relatively unspoken ‘street codes’ that need to be followed and maintained in order for one to be respected in gang culture. Elijah Anderson (1994) used the term ‘street codes’ to show how in impoverished areas with patterns of racial inequality and limited opportunities, communities create their own informal rules and govern public behaviour through violence; a cultural adaptation to the lack of faith in authorities such as the police. Neoliberalism has made the individual solely responsible for ‘taking care’ of themselves, translating to those in impoverished urban environments a sense of physical and psychological control (Anderson, 1994). One way this is connoted is through the repetitive notion that their enemies’ gossip and spread rumours, usually through the use of social media. Questioning is used to connote the idea that anyone who gossips or talks instead of confronting the people they are speaking about should not be taken seriously and are embarrassing. The use of the hypothetical also works as a warning to anyone who spreads rumours or informs police, ‘If they get nicked with the cannon/ They won’t stay real and sing like Mariah/ Conspire to change my attire/ Rise that fryer and burn that liar’. Here Digga D references famous ex couple Nick Cannon and singer Mariah Carey to indicate that he will use violence on anyone who talks to the police. When the informal rules of governing are broken, the artists use physical violence to reinforce street codes.

Anderson argues the more violence one is willing to inflict, the more respect and street credibility they possess. (Anderson, 1994). The artists emphasised their capability and willingness to cause pain, ‘Back my shank onto anyone’s friend’. The emphasis of ‘anyone’ here connotes the willingness to use violence by any means necessary, on anyone. Regardless of the consequences, they are still willing to inflict violence, even if it means life imprisonment, ‘Bro known rider/ He got down three and they all turned choir… The opps turned bro to a lifer’. Here Digga D is saying that his friend had an issue with three rivals, who then told the police which led to him being incarcerated for life.

UDM reveals bloody, warlike tensions of street culture and gang violence. Descriptive language and violent imagery was prevalent across the data. Several of the artists described the weapons they owned as being, ‘big’, ‘long’, ‘large’ and ‘fat’ connoting their power. The violent imagery illustrates the use of weapons explicitly, expressing the extent of harm the artists are willingly to, and have in the past, carried out. Furthermore, some of the artists go on to brag about going as far as suggesting murder. Here Digga D is saying he will shoot (‘back that smoke’) his enemy so badly, that he will end up seriously injured in hospital:

‘His silk gon’ cut when I back that smoke/The nurse ain’t using Chemo’ – Digga D, Mad About Bars

Onomatopoeia (words and phrases that look like the sound it makes, such as ‘bang’ and ‘slam’ was evident across the data, usually to describe the sound of weapons inflicting violence. Phrases like ‘Dududu’, ‘Bow’ and ‘bang-bang’ connote gun sounds, whereas words like ‘Ching’ and ‘Splash’ connote knives and other melee weapons. This creates excitement in the songs, like an action film, revealing to the listener that the artist speaking is experienced in using weapons and is willing to do so. Glorification of violence was expressed further through the personification of weapons and the use of positive nouns and adjectives such as ‘love’ and ‘favourite’ when speaking about weapons emphasises the desirability of violence. In Hazards by Loski, there is a sense of excitement, heightened by his repetition of, ‘my shooter’, when he is likening his friend (ahki) to Osama Bin Laden, infamous founder of pan-Islamic militant organisation al-Qaeda, ‘My shooter, my shooter, my shooter, ahki just looking Bin Laden’.

Black hyper masculinity

hook’s (2004) argues that black males today get the most attention when they are violent. They are taught that the patriarchal black man is a predator, and has to be strong and violent (hooks, 2004:26). Whilst the media remembers images of black men armed and violent, they ignore positive aspects of the black liberation struggle (hooks, 2004:54-55). Alongside this, the workforce excludes black men, encouraging them further to choose crime and avoid the hierarchy of the workforce they are disadvantaged by (hooks, 2004:27). In contrast, gang culture provides black men with respect and control. They are taught that the world is against them. Embracing the ideals of patriarchal masculinity, they are taught to be strong, violent, fearless, insensitive and nihilistic, ‘a black man blocks out all emotions that interfere with his ‘cool’ pose’ (hooks, 2004:57). Several writers argue (see Literature Review) that consumer culture in America led to many young black men to internalise commercialized essentialist images of black masculinity in order to access power. Like HH artist’s in the US, UDA’s seem to adhere to nihilistic criminal imagery of what it means to be black that dominant culture exaggerates.

Capability to inflict violence is exaggerated through hyper masculine imagery. In Air Force by DigDat, he brags about how he struggles to put his hands in XL gloves, suggesting that his index finger has grown disproportionately because of the amount of experience he has in pulling the trigger of a gun, ‘Just squeeze one hand in my glove/ XL, but the index won’t fit’. Henry Giroux (2013) suggests that the line between real and fictional violence has become blurred, normalising, eroticising and valuing violence (Giroux, 2013:258-259). Neoliberal society encourages violence as an approach to problem solving, teaching one to pursuit profit and personal gain at any cost, ‘a narcissistic hyper-individualism that radiates with a new sociopathic lack of interest in others and a strong tendency towards violence and criminal behaviour’ (Giroux, 2013:260).

Not only does neoliberalism provide hegemonic ideals of what it means to be a man, defined by economic status and power, it also defines what men are deemed to be failures within its framework (Denton, 2017:27; Connell). Excluded from wider society and unable to become as economically successful as their privileged counterparts, socioeconomically deprived males assert their power and status through performing hyper masculinity and shaming those who do not. Attempting to reclaim their manhood in a post-industrial society, men express their positions through violence towards each other (Denton, 2017:30). Masculinity is something that has to constantly be proven and reproven (McLean & Hooligan, 2018). Like how a middle class businessman may assert his masculinity and status through getting lots of sales in the workplace, the artists acquire their reputation through machismo and violence. Furthermore, like how the middle class businessman’s masculinity helps him build a respect excel in the workplace, the drill artists violent bravado helps them gain access and progress in the criminal underworld (McLean & Holligan, 2018).

Brotherhood

I define brotherhood as a relationship of fraternalism, comradeship and alliance. Amongst street codes and violence, there is a sense of comradeship and community between the artists and their ‘gang’ or group, highlighted by notions of collectivism, loyalty and honour. Like in America, economic transformation and restructuring, reduction in opportunities for the unskilled labourer and less state intervention has led to loss of social control in the UK (Hagedorn, 2005:157-158). In this environment, resistance identities can be generated by those who feel they are in stigmatised or devalued positions, establishing different, norms and values from the dominant culture (Castells, 2009:8). John Hagedorn (2005) highlights the power of rap music and media in developing gang resistance identities. Although HH is a product of America and particular types of HH have had consistent popularity in mainstream media (as discussed in the Literature Review), HH helps impoverished individuals forge a collective resistance identity and feel empowered (Hagedorn, 2005). UDM works in the same way for individuals in the UK (Thapar, 2018; Fatsis, 2019; Virk, 2019).

Collectivity is conveyed through the use of collective terms like ‘us’, ‘gang’, ‘bro’, ‘Ahki’ and the use of people’s names and gang names, denoting a sense of fellowship and collective identity. The use of eye imagery connotes the idea that they all look out for each other, and together have the ability to observe opponents, ‘Five Spartan’s, ten eyes/ So we know who’s hood, who’s good’. Loyalty is defined as a state of strong allegiance and faith, and honour as respect and integrity. In regard to the data, honour is portrayed in a dual nature, as a quality an individual need to possess in themselves, but also a sort of contract or ‘pact’ between individuals. The UK Drill group (UDG) Harlem Spartans are described as pioneers of the scene, originating from South London, Kennington. Their name is a reference to the Spartans of ancient Greece that defeated Athens in the Peloponnesian War (431-404 B.C) (History.com). Sparta culture was characterised by loyalty to the state and military service. We can see this idea echoed in UDG’s with the emphasis on devotion to the collective.

Based in Brixton, rivals of Harlem Spartans, Skengdo X AM (part of a drill group called 410) also use fatalistic imagery, ‘crashers first, it’s destined’. They reference Ancient Rome, ‘I’m still CDX/CDX like the Romans’. CDX is 410 in Roman numerals. Romans like the Spartans valued faithfulness and respect. Interestingly the Romans and Spartans too were rivals. Here the artists are emphasising their fidelity with their group, portrayed through the idea of fulfilling and dedicating one’s life to duty. One great example is in Smoke Boys 1Xtra, ‘And I still do it for bro’. It is clear here that speaker Swift feels like he has a duty to fulfil the lifestyle he does for his brother, whether he means his blood brother or not. Interestingly in UDM this integrity does not seem to be defined by honesty, but more what is deemed right and loyal to the brotherhood. The integrity required is portrayed as similar to the colloquial expression, ‘ride or die’, signifying that one must be loyal to another regardless of the risk:

‘Bro’s beefing I don’t even know if he’s right or wrong, yet ‘course I’m riding’. – Of Course, Headie One

Throughout Of Course, Headie One emphasises that loyalty to his friends or group is the most important thing, it doesn’t matter what one is supporting or encouraging, and whether it is moral or not, all that matters is that you defend your friends.

Individualisation and discontent

In the literature review we saw the relationship between austerity cuts, environmental factors and mental health issues, highlighting how people from the most socioeconomically deprived areas are more likely to experience mental health problems (Cummins, 2018; Rustin, 2014:18). As Fatsis (2019) puts it, neoliberalism manifests in two ways: as a ‘privatistic’ free market agenda that disenfranchises and excludes disadvantaged groups, and as a political doctrine that expects individuals to take responsibility for the structural disadvantages they suffer from (Fatsis, 2019:1301). The hegemonic nature of neoliberalism has caused an increase in feelings of uncertainty, insecurity and anxiety (Bauman, 2012:29; Elliot, 2016:10; Gammon, 2012:518; Neilson, 2015:197,). Wilkinson and Pickett’s (2018) recent study observes the phycological and psychosocial impacts of neoliberal societies and their increasing levels of inequality, finding heightened levels of narcissism and social isolation (Wilkinson & Pickett, 2018).

Like Bauman, Anthony Gidden’s (1990) argued that the autonomy individuals feel under neoliberalism inevitably leads to feelings of existential anxiety, in contrast to ontological security, defined by continuity and predictability (Giddens, 1990). For example, more public spending cuts and less social security has led to individuals experiencing increasing material and social unpredictability, leading to more stress and anxiety. Bauman claims ‘liquid modernity’s’ individualisation is the end of citizenship and collective wellbeing (Bauman, 2007:61). Everything is short term and subject to change. Individuals become isolated subjects of marketized and globalised society where everything is based on competition, choice and responsibility. They immerse themselves in consumerism and dedicate their lives to human capital (Treadwell et al, 2012:9). The data revealed feelings of personal responsibility for failure, injustice from police and disenfranchisement, indicating a sense of anxiety and exclusion.

Personal responsibility

Individualisation has meant that marginalised subjects are forced to face the harsh reality of their discontent and impoverishment. Under neoliberalism the UK’s CJ’s has become privatised, focused on the idea that crime is a private product of someone’s personal shortcomings rather than a public social issue (Turner, 2015:9). In the data the artists express feelings of personal responsibility for the criminal positions they find themselves in, ‘It’s just the life that I’ve chosen’. Despite musical success, the artists seem attached to their street lifestyles and gang culture. Although they cannot control that they grew up in criminogenic impoverished backgrounds where they are more likely to fail school, be unemployed and go to prison, the artists internalise, accept and identify as criminal:

‘I’m a product of my environment, so my music course its violent’ – Headie One, Of Course

Police and injustice

Unable to fully succeed in neoliberalism, UDA’s have nowhere to express their anger and resentment but on the police, the street, through their music, and each other (Treadwell et al, 2012:3). Feelings of injustice and resentment towards the police were consistent in the data, expressed through the repeating of the term ‘free’ along with individuals the artists wanted to be let out of prison. Furthermore, we can see that the artists feel discriminated against and targeted by police, as several of the artists share that the police or judges ‘want to’ put them in jail and do not want them to succeed, ‘The feds, they want me to go’. Moreover, they use rhetorical questions like, ‘Why you wanna lock my bredrin?’. We can see here how the artists use their platform to shed light on the unfair and discriminatory policing practices that criminalise young black men (Fatsis, 2019:1309). Since its popularity, UDM has been identified by the police as a ‘public enemy’, used as a source of evidence gathering in investigations and court proceedings. As shown in the Literature Review, there is tension between those who think drill causes violent crime, and those who think it is a source of empowerment that ‘naturistically’ broadcasts issues of inequality and exclusion that disproportionately impact black people (Fatsis, 2019:1301).

In Headie One’s Of Course, he even goes as far to say that the, ‘feds want [him] me in the system’ suggesting that the CJS purposely target him. He then goes on to reference Operation Trident, a Metropolitan Police unit established to tackle crime in black communities that has been heavily criticised for focusing too much on gang crime and not enough on serious crime, exaggerating the problem with gangs in London (Laville, 2012). Like many other Drill artists, Headie shares how Trident shut down his show, ‘I don’t even know why my shows get locked yet/ But ‘course it’s Trident’. After many stabbings and shooting linked to UDM, the CJS utilised several strategies including Operation Domain, aimed at acting against gang related videos (Fatsis, 2019: 1303). For example, artists Skengdo X AM were actually sentenced to 9 months in prison and suspended for two years for breaching an injunction that banned them from performing specific songs and referencing or threatening rivals (Independent, 2019; Monroe, 201; Aubrey, 2019). Critics have argued that these strategies are inadequate, contributing to young black men being racially profiled, viewing ‘drillers’ as ‘terror suspects’ and ignoring the structural issues that increase crime rate substantially (Thapar, 2018; Fatsis, 2019:1303; Fekete, 2018). Moreover, hooks points out that powerful patriarchal white men in mainstream corporate government jobs indulge in their own form of illegitimacy, ‘they just do not get caught or when they do they know how to play so they do not end up going to jail…’ (hooks, 2004:25). This further suggests the targeting and labelling of impoverished black males.

Trapped in disenfranchisement

The data highlighted the dull prison experiences of the artists:

‘What you know about sitting in jail/ And you feel like the pillow’s giving you spots/ Whoever said that its live are liars/ White Serco, black car tyres/ Bag of high fences and barb wires’ – DigDat, Air Force

Here DigDat shares how the cell pillows have been used several times without being washed and is referring to how dirty they are. Here we not only get a glimpse into the implications of neoliberalism on the individual, but it’s impact on institutions. DigDat highlights the lack of funding in prison services, sharing how the pillow’s in prison are unhygienic and rarely cleaned or changed, expressing that he worried he would get spots from them. CJS and MHS across the UK have experienced significant cuts in budgets in the last ten years and currently has the highest rates of imprisonment in western Europe. Alongside this, safety and health in prison has deteriorated for both staff and prisoners, with an increase of MHI, more self-harm, assaults and self-inflicted deaths than ever (Prison Reform Trust, 2019; Turner et al, 2018:62). He then goes onto to describe the vans that transport prisoners between prisons. Despite the benefits of their criminality, the artists express the trauma they experience from their jail sentences, ‘And yes it was 4 whole months on basic, I swear it nearly broke my mindset’. They are aware of the risks they are taking, ‘Get caught with this then it’s back to the showers. Yet regardless of the risks and trauma, they are stuck in a lifestyle of repeat offending, ‘I know what it feels like to go back and forth with my lawyer’. They are in a loop of being imprisoned and released. hooks articulate this well:

‘Locked down, utterly disenfranchised, black men in prison are in a place where…more often than not it is a place where patriarchal maleness is reinforced. Gangsta culture is even more glamorized in our nation’s prisons because they are the modern jungle where only the strong survive’ (hooks, 2004:27).

Neoliberalism encourages the criminalization of the working-class black men and the internalisation of this criminal stereotype, reproducing, ‘socially constructed differences between genders and neglecting racial/ethnic, class-based, and sexual diversity’ (Turner, 2015:11). The individualisation of poverty ignores structural issues that motivate crime such as lack of money and difficult childhoods, dismissing the importance of history and changing social-political and economic conditions. Individuals separate themselves from their shared history, leading them to be selfish and unsympathetic (Fisher, 2006:56). They dedicate themselves to consuming and human capital, ‘compelled to play the hedonistic game contest of indulgence but not really taking the satisfaction from the experiences it provides’ (Treadwell et al, 2012:9).

For many young black males, imprisonment becomes a regular occurrence, with 27% of the prison population being from an ethnic minority group, there is a clear overrepresentation (Prison Reform Trust, 2019). 48% of adults are reconvicted within a year of their release. Alongside this, there has been two and a half times the people sentenced to 10 years or more in 2018 then 2006. Neoliberalism has not only encouraged cuts in the CJS through ‘benchmarking’ in an attempt to make tasks more efficient and simpler, but through individualising crime, encouraging punishment over intervention (Turner et al, 2018: 163). Black men are most likely to remain in custody, and be given a custodial sentence in the first, highlighting the criminalisation of black men in the CJS further (Prison Reform Trust, 2019). Although not explicitly mentioned, we can see the artists express feelings of anxiety and risk as the artists go in and out of jail, trying to reach success with the little means they have and by any means possible. We can also see feelings of personal responsibility in conjunction with feelings of hopelessness as they accept their position as criminal, encouraging resentment towards authorities and more crime. It’s interesting here that although the artists express personal responsibility, they do this alongside feelings of restraint, and lack of choice. The artists accept personal responsibility for their criminal lifestyles, but express that they cannot get out of it, emphasising the structural constraints neoliberalism implements on their opportunities and experiences.

Further discussion and conclusion

Figure 1 represents the overall relationship between neoliberalism and UDM, highlighting neoliberalism values, its economic and political polices and ideology, and how its implications on black socioeconomically disadvantaged males are expressed in the data:

Figure 1: The relationship between neoliberalism and UK Drill Music

At first glance, the data seems to reflect a conflict in feelings.

- Feelings of resistance and collectivity whether through resentment of authority or through a sense of brotherhood and comradeship

- Feelings of individualisation, narcissism and social isolation through hyper consumerism, violence and treatment of women.

In unequal societies corrupt with oppression and domination, there is always resistance and countermobilization (Reicher, 2004:941). In some ways UDM seems to have its own smaller resistance society within neoliberal Britain. The artists use their own slang, their own ways of earning income and have their own morals, signifying difference. This explains the lack of sense of authority; they look after themselves financially and politically through illegitimate means whether it is violence, selling drugs, or making music. Despite a sense of resistance, they can only resist within the boundaries of neoliberalism. If anything, their choice of resistance, via criminal activity reinforces ideas around black criminality that neoliberalism promotes. There is more of a sense of internalisation of neoliberalism individualisation, competition, consumerism, narcissism and selfishness then notions of collective revolt or community. With less opportunities they turn to gang culture, based around hyper masculine violence and street codes. Making money through drug dealing and music, they portray their successfulness through hyper materialism and hyper consumption of women, cars and jewellery. Despite their success in the music industry, they are labelled by society and the police as pathologically criminal, excluded further from any social interventions. They become trapped in a cycle of going in and out of prison with no opportunities when they come out, other than the streets or the music studio.

Two warring ideals

One way to view the relationship between young black males and neoliberalism is through the W.E.B Du Bois (1903) double consciousness, ‘an American, a Negro, two souls, two thoughts, two unreconciled strivings; two warring ideals’ (Du Bois, 1903:2). Du Bois uses this concept to explain the conflicting identities of African American’s in the early 1900’s. Despite the abolishment of slavery Du Bois saw there was ongoing economic, social and political exclusion that continued to create racial conflict (Du Bois, 1903:9). Similarly, I want to argue that young black males in the UK experience complex conflicting identities and there is a sense of dualism. On the one hand, they identify as British citizens; the narcissistic neoliberal consumer in the ‘free market’, conspicuously consuming and competing for the most power, money and success:

‘Still getting cash, get paid they call me’ - DigDat, Air Force

On the other hand, they identify as the young black criminal; riddled by anxiety, excluded and demonised by society, trapped in a life of poverty and crime, powerless and resentful of their counterparts. With anxiety and the pressures of consumerism, they turn to illegitimate means to make money which further excludes them:

‘I told you it’s cold/ Been dashing phones/ The feds, they want me to go’ – Skengdo X AM, Foolishness

Du Bois concept is useful because it helps explain the complex reflexive identities of socioeconomically deprived young black males, ‘the inevitable self-questioning, self-disparagement, and lowering of ideals’ (Du Bois:1903:6). and also gives us an insight into how much has really changed in western society in regard to race and exclusion/inclusion. Thinking about this in regard to the recent discussions around Drill and its criminogenic nature, alongside the media’s longstanding demonization of black males, we can see that no matter how much these artists indulge in neoliberal values, they will never be deemed as successful and will always be defined poorly under the eyes of neoliberalism’s ideology. Figure 2 represents this dichotomy:

Analysing the themes in UD lyrics can be extremely insightful when looking at the relationship between young black males and neoliberalism. Not only has it informed us of the complex conflicting identities of black youth, but how the fierce enforcement of neoliberal logic across social and political life has been internalised, regurgitated and resisted. This study has emphasised the hegemonic nature of ideology, and how it is practiced and policed by every individual, even those who disadvantage from it. The artists studied shared strong feelings of resentment towards authority, yet reflected the norms and values authority facilitates. The artists create their own kind of ‘street neoliberalism’ with the resources they have, combining on the one hand their British neoliberal identity, and on the other, their black criminal role – both correlating with Neoliberalism’s implications on individuals. Moreover, it has shown us and helped us understand the extent of dissatisfaction impoverished black males feel in Britain today. This study should hopefully encourage more research on this ever growing genre that is continuously misunderstood in the media. More research also needs to be done on the relationship between mental health and neoliberalism. Knife crime is continuously increasing and many of these songs reflect this violence. I am hoping this study will open the discussion on more social intervention and public spending on services such as youth clubs. Moreover, I hope it encourages other researchers to look into the positive impact of music on young people’s lives, and how it has the potential to remove them from dangerous situations if developed and accepted.

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Appendices

Dataset 1:Presentation of the relationship between UK Drill and Neoliberalism

Theme Properties of theme Description of properties How they relate to neoliberalism Examples in data

Consumerism & Success Conspicuous consumerism & hyper materialism We can see in the data examples of conspicuous consumption, characterised by boastfulness and descriptive language of material items. Additionally, women are seen as an object to consume through sexual favours, depicted as doing anything for money. Throughout the data the artists emphasise the importance of success, having wealth, and showing it through consumption. In neoliberalism the individual moves from a producer to consumer. Everything they do is based off of what and how they consume. Consumerism is symbolic, and all about informing people of our value and status. Moreover, consumerism is quick, and constantly changing. It encourages mass consumption, signifying power, luxury and success. Naming/describing brands and clothing

• ‘See the green and red on my belts/ So you know that it came from italy’ – DigDat, Air Force

• ‘See bro with his DayDate 40 / Still getting cash paid they call me’ – DigDat, Air Force

• ‘In my blue Dior or DSquared2’ DigDat, Air Force

• ‘You do road in Prada runners’ – Headie One, Home

• ‘Designer jumpers’ – Headie One, Home

• ‘Air Jordan’s’ – Headie One, Of Course

• ‘Prada’s’– Headie One, Of Course

• ‘Expensive coat’ - K-Traps ft. LD, Edgeware Road

• ‘Still see me with M and Rose or see me with M and Rose/ That’s 18k’s and wap’s that’s racks and water froze’ - K-Traps ft. LD, Edgeware Road

• ‘Shiny shoes with the spikes/ But I still spend cash on bells and pipes’- K-Traps ft. LD, Edgeware Road

• ‘TG stepped out in Louis, broski looking like chess’- Loski, Hazards

Boasting about luxury lifestyle

• ‘Still getting cash, get paid they call me’ -DigDat, Airforce

• ‘Man still money dance in the bando (get money)’ - Loski, Hazards

• ‘Man knows that we do this properly’ - Skengdo X AM, Foolishness

• ‘Fly out Toronto , rest up my bredda/ I’m Champagne Papi, bottles in the VIP’ - Smoke Boys, 1Xtra

• ‘Oh my days who’s that top flexer/ F money in the Benz looking expensor/ OR should I say ‘spensive’ - Smoke Boys, 1Xtra

• ‘Pourin’ up champs and billin’ up rizzla’s/ More life, we live dis/ Flex like Ron and Lester’ - Smoke Boys, 1Xtra

Hyper consumption

• ‘I was on roads tryna double up/Home, now I wanna see my p’s triple’ – DigDat Air Force

• ‘Then I grab twos and then stack some more’ - Harlem Spartans, Kennington Where It Started

• ‘Got me a brand new whip/ Brand new bitch, brand new wap/ Young fly boy getting paid off rap and fucking up council flats’ - K-Traps ft. LD, Edgeware Road

• ‘Everything green like broccoli’ - Skengdo X AM, Foolishness

Objectification & sexualisation of women

• ‘still take a next man’s boo (Tek’ her)/ I just came to the ting were neked’- Dig Dat Air Force

• ‘Got this bad b from Ghana’ – Headie One, Of Course

• ‘brand new bitch’ - K-Traps ft. LD, Edgeware Road

• ‘With a brownin she a hot one/ Diamonds turn her to a squirter’- K-Traps ft. LD, Edgeware Road

• ‘(tek any girl)’ – Loski, Hazards

• ‘’nough gyal, Hugh Hefner’ - Smoke Boys, 1Xtra

• ‘Guess if she don’t give head, kick that bitch out the bed like vector’ - Smoke Boys, 1Xtra

Meritocracy & urgency Alongside this, the artists express an internalisation of meritocracy, defined by their need to make money fast and an emphasis on personal responsibility. Neoliberalism instills into individuals minds that society is an equal playing field, and therefore those who are deemed successful worked for it. It ignores any structural inequalities, convincing individuals that they must quickly succeed (defined mostly by material success) by any means necessary.

Need and responsibility to make money independently and urgently

• ‘But its back to the money/ And if you go broke, you’re stressin’’ – Skengdo X AM, Foolishness

• ‘Now I’m not tryna miss these sales/ I get pissed when the ringtone stops’ – DigDat, Air Force

• ‘Get the white out no ticks’ DigDat, Air Force

• ‘Trap pays off, I still get bread/ No days off, I miss my bed’ – Digga D, Mad About Bars

• ‘Wake up, get my grind on like Section’ – Kennington Where It Started Harlem Spartans

• ‘Trap trap, sponsor a man/ That’s good grantsmanship (misch-masch)’ – Harlem Spartans, Kennington Where It Started

• ‘Have you ever done 28 days in the T still feeling like you’ve gotta go harder/ Scrape that shit so hard, swear I nearly broke that Pyrex’ – Headie One, Of Course

• ‘Cut back, do road’ - Hazards Loski

• ‘Plugs insist that I send ‘em two xtra/ Hurry up and buy, I ain’t giving out testers’ - Smoke Boys, 1Xtra

• ‘Listen, I mean business/ Been tryna get rich with quickness’ - Smoke Boys, 1Xtra

Flawed consumer

• ‘See the opposition starving’ – Harlem Spartans, Kennington Where It Started

• ‘You was a top boy then turned to a begger’ - Smoke Boys, 1Xtra

• ‘But its back to the money/ And if you go broke, you’re stressin’’ – Skengdo X AM, Foolishness

Street codes, violence & masculinity

Street codes & violence

The artist expresses a dedication to gang culture, emphasising the importance of street codes, rivalries and violence. Throughout the data they use descriptive language to narrate stories around gang violence. They also express enjoyment when inflicting violence.

The inequalities and impoverishment neoliberal policies implement into societies has been a catalyst for the increase in youth violence and gang crime. In unequal societies street codes are used in disadvantaged areas to sustain order, community, control, respect and power. Street codes sometimes reflect wider societies values, or an alternate version.

Importance of not snitching/gossiping

• ‘If they get nicked with the cannon/ They won’t stay real and sing like Mariah/ Conspire to change my attire/ Rise that fryer and burn that liar/ Bro known rider/ He got down three and they all turned choir/ And prior, prior, prior to this sixteen or higher/ The opps turned bro to a lifer’ –Digga D, Mad About Bars

• ‘Them man chat for the net/ But that’s not how they are off set/ And when me and my amigos pull up/ They take off, make off, they’re wet’ –Digga D, Mad About Bars

• ‘Opps chat man, fam I see it in my mentions (Fuck ‘em)’ –Harlem Spartans, Kennington Where It Started

• ‘Opp boys going on the net, going talky, I aint tryna hear it, them man informers’ – Headie One, Of Course

• ‘They wanna run around and gossip’ –Skengdo X AM, Behind Bars

• ‘No Chinese whispers’ - Smoke Boys, 1Xtra

Glorification of weapons/violence

• ‘My shank sharp like a guillotine/Long like limousine knife work cray, cray/ Rudeboy, I do you up differently (Ching)’ - DigDat, Air Force

• ‘Are you sure this corn will fit this wap? / Bro Bro these teeth aint little’ - DigDat Air Force

• ‘S got his Rambo twinnin’ / Steppin’ with mine so we’re calling them triplets’ -DigDat, Air Force

• ‘Stick handle wood, its vintage’- DigDat, Air Force

• ‘Hit a three on two times two/ That’s ten-men serving ‘em one by one / Hop out ‘dem four-by-four on three-man, got two, one try run’ - DigDat, Air Force

• ‘Whole of your head turn cheerio’– DigDat, Airforce

• ‘Big guns like AK40’s’ - DigDat, Air Force

• ‘Flip one my favourite tool’ - DigDat, Air Force

• Who’s dem yutes? Spin that ped/ Do it like Bruce, ching that head’ –Digga D, Mad About Bars

• ‘His silk gon’ cut when I back that smoke/The nurse ain’t using Chemo’ – Digga D, Mad About Bars

• ‘Don got dipped cah he tried run/ I caught him a stitch, no Lilo’ – Digga D, Mad About Bars

• ‘Suttin’ gon’ end up on BBC, if I tell bro stop that car/ Film in the four, two guns, take one, we’re rolling/ Lights camera action, cut-cut, when I soak him’ – Digga D, Mad About Bars

• ‘Kitchen, Rambzys, I swear down man had a axe’ –Harlem Spartans, Kennington Where It Started

• ‘I push it in stomachs’ – Harlem Spartans, Kennington Where It Started

• ‘I treat beef like breakfast (Yum) / Two shanks, get ‘round in seconds’– Harlem Spartans, Kennington Where It Started

• ‘Back hand grip with my black blade, ching man’s head, leave that more than swollen’ – Headie One, Of Course

• ‘Step with the metal, that’s daily, it won’t fail me, that’s bro bro’ – Headie One, Of Course

• ‘I step with the ah, nearly as long as me, I don’t even care if its sawn-off’ – Headie One, Of Course

• ‘I fire this pin and burn this hoodie’ - K-Traps ft. LD, Edgeware Road

• ‘Im on Edgeware road with my burner’ - K-Traps ft. LD, Edgeware Road

• ‘Put two hands on that skeng I’ll blast at your friend if I hear he’s involved (bye!)’ - Loski, Hazards

• ‘Hazards (man down, man down)’ - Loski, Hazards

• ‘Man down, let anyone have it’ - Loski, Hazards

• ‘Shotty just oh so long, looking like Gora’s coffin’- Loski, Hazards

• ‘They say 150 but its 146 (man, dead up) / True their friend, ‘dem dead (man, dead up)’ - Loski, Hazards

• ‘Neck and any man’s chest/ Swim, get any man wet’ - Loski, Hazards

•

• ‘Man should’ve put him in a coffin/ Put him in the boot, in the bag, in the box/ Bang for the goons and I bang for the block/ Man buss that corn dadadat dududot/ Skrr Skrr dudu dudu’ –Skengdo X AM, Behind Bars

• ‘Corn come fat like Skully Zone 2’ – Skengdo X AM, Behind Bars

• ‘Man’ll show man tekkers/ Rambos go through sweater’– Skengdo X AM, Foolishness

• ‘we had that boom selector/ Tryna’ boom that bredda’ - Smoke Boys, 1Xtra

Use of onomatopoeia do describe gang warfare

• ‘Splash, splash, splash’– Harlem Spartans, Kennington Where It Started

• ‘Like all I hear is sku-du and du-du, like uh uh’- Hazards Loski, Hazards

• ‘Dududu bow in his face’– Skengdo X AM, Behind Bars

• ‘Dudu dudu’– Skengdo X AM, Behind Bars

• ‘Du-du-du-du’ –Skengdo X AM, Foolishness

• ‘Hear a woosh woosh and the bang-bang’ –Skengdo X AM, Foolishness

• ‘Trois cinq, bang, bang, bang’ – Skengdo X AM, Foolishness

• ‘Boom bang’ - Smoke Boys, 1Xtra

Black hyper masculinity The artists seem to identify with traditional essentialist ideas of what it means to be a black male, connoting images of the animalistic, violent, emotionless criminal. This is highlighted through an emphasis of their capability and willingness to inflict violence. Neoliberalism works alongside social Darwinism, reducing individuals to essentialist understandings of their identity, decreasing diversity and increasing disadvantage. Alongside this the privatisation and marketisation of public services such as the education system, has impacted black males significantly, further reinforcing racist ideas around what it means to be black.

• ‘I look psychotic when man get wassy’ –Digga D, Mad About Bars

• ‘Really do dem things that we talk of/ The gang ain’t fall off, Still pree that 4.44 long’ – Headie One, Of Course

• ‘Still make man panic/ True, I’m way to wassy’ - Loski, Hazards

• ‘I love skeng’s and peds/ Violence no meds’ - Loski, Hazards

• ‘Violence/ violence’– Skengdo X AM, Behind Bars

• ‘Back my shank onto anyone’s friend’–Skengdo X AM, Foolishness

• ‘Just squeeze one hand in my glove/ XL, but the index won’t fit’ DigDat, Air Force

• ‘‘Diligent dip on anyone’s son’ –Skengdo X AM, Foolishness

• ‘Put gyal on a stretcher, right after I press her’ - Smoke Boys, 1Xtra

Weakness of rivals In contrast to the artist capability, to emphasise their strength further, they highlight the weakness and incapability of their rivals. Hegemonic neoliberalism and hegemonic masculinity involves judging and policing each other’s assimilation with their norms.

• ‘Had to run a boy down in my Air force’ - DigDat, Air Force

• ‘Tryna make them do more sprinting’ - DigDat, Air Force

• ‘Skid-Skrr laters/ Leaving your friend at the scene, ourageous (Gone)’ - DigDat, Air Force

• ‘Come link me I still have my thingy/ You can’t say I weren’t prepared’ - DigDat, Air Force

• ‘Question/ If gang pull up, are you gonna back your bredrin? (Help) / Shouldn’t be screaming things for the things/ Man just kwoof-qweff him (Bow, bow)/ Been out here, me and Sav, Savage’ –Harlem Spartans, Kennington Where It Started

• ‘Opps them chatty, ching like Maggie/ Heard you want war with us’ – Skengdo X AM, Behind Bars

• ‘Step with the 12, 2 loaded barrels opp boys throwin’ the towel’- K-Traps ft. LD, Edgeware Road

• ‘Violence/ violence, you aint about it/ Likkle man please stop chatting’– Behind Bars Skengdo X AM, Behind Bars

• ‘Buss that corn then im back to the block/ bang bang put your guns in the air/ Man caught that yute and his friend dissapeared’ – Skengdo X AM, Behind Bars

• ‘Dilligent who? Dilligent where? You’re just a diligent mug/ Send for the Gs like no/ Switched couple times are you dumb? Shit den crazy mad up mad up / Bro bro splash up your lungs’ – Skengdo X AM, Behind Bars

• Good yutes, got peer pressures/ Don’t act volts when you do church reggers/ They know that they need then blessings’ – Skengdo X AM, Foolishness

Brotherhood The artists shared feelings of togetherness and unity characterised by notions of integrity and honour. They see their brotherhood as fate and express their willingness to fulfil their duties as ‘brothers’. The data revealed the importance of respect to the subgroup, emphasised by the use of boasting and threats. Resistance identities can be found in unequal societies where individuals feel excluded or stigmatised, forming new values and norms within dominant culture.

In neoliberalism, image almost becomes synonymous with respect. How one portrays themselves (via what they consume) determines how much they are respected. Group Identification:

• ‘S move like Diego Costa’ DigDat Airforce

• ‘S got his Rambo’s twinning’ DigDat Airforce

• ‘Spartans dip like custard cream/ Now look at your wounds your stressin ‘ – Harlem Spartans, Kennington Where It All Started

• ‘Spartans dip like custard cream/ Now look at your wounds your stressin’/ And watchin’ your friend, he leggin’/ That’s all mad depressing (Run up) ‘ – Harlem Spartans, Kennington Where It All Started

• ‘Been out here, me and Sav, Savage’ – Harlem Spartans, Kennington Where It All Started

• ‘Five spartans, ten eyes/ So we know who’s hood, who’s good’ – Harlem Spartans, Kennington Where It All Started

• ‘Twenty-first century Spartans/ Sorry if we do things Spartans should’ – Harlem Spartans, Kennington Where It All Started

• ‘Bake off with Akh’ – Harlem Spartans, Kennington Where It All Started

• ‘Sparta, Kuku, real members’ – Harlem Spartans, Kennington Where It All Started

• ‘Three-hundred Spartans/ See them draw for swords like Shaman’ – Harlem Spartans, Kennington Where It All Started

• (gang, gang, gang, gang)’ - K-Traps ft. LD, Edgeware Road

• ‘My shooter, my shooter, my shooter, ahki just looking Bin Laden’ - Loski, Hazards

• ‘ahki’ – Loski, Hazards

• ‘All now im still CDX/ CDX like the Romans’–Skengdo X AM, Behind Bars

• ‘Crashers first, its destined/ OD put corn where your chest is/ Should invest in vest’s/ Could teach you a lesson/ Don’t ever lack around me’ - Skengdo X AM, Foolishness

• ‘Crash gang fully on violence’ –Skengdo X AM, Foolishness

‘Ride or die’ loyalty:

• ‘Bro’s beefing I don’t even know if he’s right or wrong, yet ‘course I’m riding/ Long as my OFS lively, beef aint dying, course its frying’ – Headie One, Of Course

• ‘Harlem Spartan, too trappy/ Get dropped from the squad, don’t back beef/ Two hands on the mash get clappy (bye)‘ - Loski, Hazards

• ‘And I still do it for bro’ - Smoke Boys, 1Xtra

Fate:

• ‘I’m a product of my environment, so my music course its violent’ – Headie One, Of Course

• ‘crashers first, it’s destined’ – Skengdo X AM, Foolishness

Threats as a collective:

• ‘Tryna rip holes and touch man’s skeleton/ Opp boys can’t see us, man’s wettin’ ‘em’ – Harlem Spartans, Kennington Where It All Started

• ‘And how they gon’ chat about us? / When we see dem man they cut/ All of this talk, all of this talk on the net/ More than then been splashed its nuts’ – Harlem Spartans, Kennington Where It All Started

• ‘’Dey say Harlem Spartans’ on nothing/ Say Harlem Spartans’ some rappers/ ‘Til Harlem Spartans’ out there marching/ Back out the ‘ting on faggots’ – Harlem Spartans, Kennington Where It All Started

• ‘Don’t come round here shook, look/ Really tryna get in our good books’– Harlem Spartans, Kennington Where It All Started

Brotherhood vs women Patriarchal and misogynistic language is used to describe relationships with women in contrast to the respect and loyalty the artists show to each other. Women are seen as distractions that cannot be trusted. Neoliberalism is patriarchal, based around ideas of men as citzens. Although women are consumers too, women are subjects to be consumed. Ideas around women are homogenous like those around race, and women are viewed as objects to show off, and receive pleasure from. Alongside this they are seen as weak and incapable of fully being a neoliberal subject. Women merely for sex:

‘Wait/I/Want/Noddy/And/She/Wants/Love/ Dumb bitch, dumb bitch/On your knees and suck, suck’–Skengdo X AM, Behind Bars

• ‘Den gyal too bloodclart catty/ And your babe’s gonna do it for the snappy/ 1xtra, give a gyal xtra/ I like my gyal dem plus, not xtra’ - Smoke Boys, 1Xtra

Women as distractions:

• ‘She wan’ jump up, mash up the place/ Pallance bitch’–Digga D, Mad About Bars

• ‘Three other girls that give man attention (Fuck ‘em)’ Harlem Spartans, Kennington Where It All Started-

• ‘Like peng, peng all on man gyal, way too catty’ – Loski, Hazards

• ‘Paigons, paigons are chatting like hoes’– Loski, Hazards

• ‘Girls on me get minimal trust…. Minimal hugs…. Minimal love/ Trust her once won’t do it again/ I ain’t got time’ – Skengdo X AM, Foolishness

• ‘I was tryna get my bread up, she just wants me to get wet up’ - Smoke Boys, 1Xtra

Individualisation & discontent Personal responsibility Alongside internalising criminal identities, the artists seem to accept their subordinate positions in society as natural. Furthermore, they accept their position as their individual responsibility. The reconstruction of the criminal justice system under neoliberalism has led to privatisation, focusing on punishment and responsibility over social interventions and desistance. Individuals internalise that their criminality is purely their responsibility and nothing to do with any socioeconomic factors. • ‘I learnt from Cruz now I bring back zed’s/ Bro drop mad work that weight get benched/ Do it like Ratlin hop that fence/ But I bet you still get ching-ching/ So it don’t make sense’ –Digga D, Mad About Bars

• ‘We some bastards no daddies, swammies start blasting’ –Harlem Spartans, Kennington Where It Started

• ‘Im a product of my environment, so my music course its violent’ – Headie One, Of Course

• ‘it’s just the life that I’ve chosen’ –Skengdo X AM, Behind Bars

• ‘Feds tryna lock this criminal cuz’ – Skengdo X AM, Foolishness•

Police & injustice The artists expressed resentment towards police and feelings of injustice, suggesting that the police purposely target them. Neoliberalism is inherently racist, ignoring structural issues that impact ethnic minorities significantly. It feeds of off racist assumptions, reducing what it means to be a black man as criminal, meaning that black men are targeted more by police. Emphasis on freeing friends from prison:

• Free broski Striker’ –Digga D, Mad About Bars

• ‘Free D1, real crook’s man’ – Harlem Spartans, Kennington Where It Started

• ‘Free Ty, free Loski Loose, Snow, St, free Sav (Free ‘em) / Free Smarko, T-trap’ – Harlem Spartans, Kennington Where It Started

Free the mandem/ Free Sav, free Smarkz, free Ty, free Loski’ – Harlem Spartans, Kennington Where It Started

• ‘Free D1, free Trap, free Kays… Free ST, free Hacks, free Kess…’ - Harlem Spartans, Kennington Where It Started

• ‘Free G Face and free C Rose’ - Loski, Hazards

• ‘Free Lil Twin that’s bro/ Free Peeler he’s in love with the funds’ –Skengdo X AM, Behind Bars

• ‘Free GD out the can’ – Skengdo X AM, Foolishness

Feelings of injustice from police:

• ‘ I just got back from a stretch/ They didn’t miss me when I was gone’ DigDat, Air Force

• ‘Jakes jump out, we leave them/ All the jailbirds need freedom’ –Harlem Spartans, Kennington Where It Started

• ‘Kennington blocks where cops look/ I don’t see them, my shots would/ Been out here tryna break down buds/ Why you gotta stop my jugg?’ – Harlem Spartans, Kennington Where It Started

• ‘Tracksuit, no chinos, no polos, feds want me in the system no solar’ – Headie One, Of Course

• ‘ I don’t even know why my shows get locked yet but course its Trident’ – Headie One, Of Course

• ‘Free GD out the can/ Got me thinking when he’s coming home/ The judge wanna do him dirty/ They don’t wanna send man home’ – Skengdo X AM, Foolishness

• ‘I told you its cold/ Been dashing phones/ The feds, they want me to go’ – Skengdo X AM, Foolishness

• ‘ I aint fucking happy/ Free my dons in the KJ sappy’ - Smoke Boys, 1Xtra

Trapped in disenfranchisement Neoliberalism makes it hard for people to be socially mobile. It lacks social security, public spending and community action. People become self-isolated and internalise responsibility for everything they face in life. Moreover, Mental health issues increase. Individualised are pressured to consume and the most disadvantaged have no legitimate means to achieve this, and therefore can get stuck in subordinate positions with no hope. Negative criminal justice system experiences:

• ‘What you know about sitting in jail/ And you feel like the pillow’s giving you spots/ Whoever said that its live are liars/ White Serco, black car tyres/ Bag of high fences and barb wires’ DigDat, Airforce

• ‘Remember them days I got spun on basic/ And you used to ask why I can’t call/ Didn’t I tell you ima ball, as soon as I get home’ – Headie One, Home

• ‘Remember when feds booted off the door/ And they was talking call’ – Headie One, Home

• ‘How many times did they put me in court/ And I had to face that judgement’ – Headie One, Home

• ‘And yes it was 4 whole months on basic, I swear it nearly broke my mindset/ Been jail 3 times I don’t know how I’m out here, course I’m tired (I don’t even wanna risk my freedom, ahh, its mad)’ – Headie One, Of Course

Understanding risk & repeat offending:

• ‘My phone just came encrypted/ Want me in a case but it just got lifted’ -DigDat, Air Force

• ‘Fuck it’ – Harlem Spartans, Kennington Where It Started

• ‘You don’t know what it’s like to sleep in a T House/ ‘Round crack pipes and foil/ But you spent everyday sittin’ tight at this dinner with paranoia’ – Headie One, Home

• ‘I know what it feels like to go back and forth with my lawyer cah he tell me what day I got court on/ I don’t know what that opp or what road he got caught on, or the date or timing/ Course I’m lying’ – Headie One, Of Course

• ‘really take them risks’ – Headie One, Of Course

• ‘Bro just beat a next AM, he aint tell me, that’s normal/ Step with the metal, that’s daily, it won’t fail me , that’s bro bro’ – Headie One, Of Course

• ‘I know what it feels like to go back and forth with my lawyer cah he tell me what day I got court on/ I don’t know what that opp or what road he got caught on, or the date or timing/ Course im lying/ I don’t know why they ain’t turned pack yet, but course we’re trying/ I don’t know what dinger or what’s on the clock yet bro but course its mileage/ Interview room,, I don’t know what I don’t, yet each and every time ‘course I’m silent’ – Headie One, Of Course

• ‘I was in jail that’s bowls of Oats/ Now it’s 2 Pyrex bowls of coke…Got corn on the opps ofcourse/ And extra ones for the rest as well’ - K-Traps ft. LD, Edgeware Road

• ‘Get caught with this then it’s back to the showers/ Radox gel and a flannel’ - K-Traps ft. LD, Edgeware Road

• ‘Why you think I went jail cah I sleep with the smoke/ Should of left it with uh uh, never bring it home’ – Loski, Hazards

• ‘Im in a bando one up 2 Pyrex’s full of yay If they kick this door then the kitchen windows my escape’- K-Traps ft. LD, Edgeware Road

• ‘Rambo looking all bait’– Skengdo X AM, Behind Bars

• ‘Dudu dudu/ Back away from the sirens/ Cant believe that I’m hiding/ Is it Ambulance or Trident/ But its two peds and we’re gliding/ Hoody on or a hi-vis/ Fuck a CRB, I need MOT cah that pussy there done mileage’ – Skengdo X AM, Behind Bars

Of Course – Headie One (2018)

[Intro]

M1OnTheBeat

[Verse 1]

Bro just beat a next AM, he ain't tell me, that’s normal

Step with the metal, that's daily, it won't fail me, that’s bro bro

On the opp block we took selfies, our presence, it was known of

Now they don't even know it's us when we get on that scoreboard

Back hand grip with my black blade, ching man’s head, leave that more than swollen

I'm in station like 5am, been like 5 AM's and not once man’s spoken

How many times have the gangdem denied them splashing’s like 5 in the morning?

It's the crack of dawn I barely know where I am and I'm still yawning

Really do dem things that we talk of

The gang ain't fall off, still pree that 4 .44 long

Nuttin’ but the baddest of b’s, cats, fiends, plugs in my call log

I step with the ah, nearly as long as me, I don't even care if it’s sawn-off

Tracksuit, no chinos, no polos, feds want me in the system, no solar

Bad B in the visit hall, I'm like oh lard, again I got a boner

She wanna know what day I come home on

I know what it feels like to go back and forth with my lawyer cah he tell me what day I got court on

I don't know that opp or what road he got caught on, or the date or timing

[Chorus]

'Course I’m lying

I don't know why they ain't turned pack yet but 'course we're trying

I don't know that dinger or what's on the clock yet bro but 'course it's mileage

Interview room, I dont know what I done, yet each and every time 'course I'm silent

I’m a product of my environment, so my music, course it’s violent

I don’t even know why my shows get locked yet, but course it’s Trident

Bros beefing I don't even know if he's right or wrong, yet 'course I'm riding

Long as my OF's lively, beef ain't dying, 'course its frying

(Aye, aye)

[Verse 2]

Opp block settings, dressed all sporty, shoot straight, I don’t air it in my Air Jordan’s

Opp boy's going on the net, going talky, I ain't tryna hear it, them man informers

Living life on the fast lane from kway-kway we been cutting them corners

Tell bro we'll get some new smoking dingers when we bruck down this corner

T-house settings, skeng in my workers face so they trying be koalased

Primary school days it was astroturfs, now we can do kick ups in Prada’s

Really take these risks, been doing up field, no farmer

These old timers aint on nuttin’, they fell off, Jamie O’Hara

Got this bad b from Ghana, top floors, calamari for starter

I gotta stay humble there's times that I paid a few pens for a charger

Have you ever done 28 days in the T still feeling like you've gotta go harder?

Scrape that shit so hard, swear I nearly broke that Pyrex

And yes it was 4 whole months on basic, I swear it nearly broke my mindset

Been jail 3 times I don't know how I'm out here, course I'm tired

(I don't even wanna risk my freedom, ahh, its mad)

[Chorus]

'Course I'm lying

I don't know why they ain't turned pack yet but 'course we're trying

I don't know that dinger or what's on the clock yet bro but 'course it's mileage

Interview room, I don’t know what I done, yet each and every time 'course I'm silent

I’m a product of my environment, so my music, course it’s violent

I don’t even know why my shows get locked yet, but course it’s Trident

Bros beefing I don't even know if he's right or wrong yet, 'course I'm riding

Long as my OF's lively, beef ain't dying, 'course its frying

(Aye, aye)

[Outro]

M1OnTheBeat

Home – Headie One (2019)

[Intro]

Soon as I get home

[Chorus]

But all I do

Is think about the way you make

But all I do

Is think about the way you make me feel

The way you make me feel, feel

The way you make me feel

'Cause baby, this love is so-

[Verse 1]

My shawty don't want me to jugg

Baby, I'm doing wrong, I know

I'm doing some things in the streets

So the things that you hear, I know you can't condone

Remember them days I got spun on basic

And you used to ask why I can't call

Didn't I tell you I'ma ball, as soon as I get home

Remember that time feds booted off the door

And they was talkin' about recall

Didn't I tell you I’d touch and give you it all, soon as I get home

It's been a long day on road, I kick off my shoes when I get home

I want nuttin' but you when I get home

Shawty get anything she wants, she's spoilt

Got all of the baddest of B's on me but for you, I'm loyal

Step looking all king and queen, we could do up royal

That body there a blessing

Like you rubbed it down with anointed oil

You don't know what it's like to sleep in a T house

'Round crack pipes and foil

But you spent every day sittin' tight at this dinner with a paranoia

And for that you deserve the throne

Light the room up, I know you like to set the tone

Pull off that robe, wait patiently, daddy soon come home

[Chorus]

But all I do (Soon as I get home)

Is think about the way you make

But all I do (Soon as I get home)

Is think about the way you make me feel

I want nuttin' but you when I get home

The way you make me feel, feel

The way you make me feel

'Cause baby, this love is so real

[Verse 2]

Me and shawty both from the hood so ain't it only right we glow

I know that you're in for the long run

But these hoes, they just come and go

All the times I come home to you when I come from O

I already made you know what ten racks looks likes, Scottish notes

We used to be on the phone for hours

And all you would hear is Scottish folks

Now we're in Europe making a pot like a jollof bowl

You used to send me letters in the post

Now look at fans, tell me I'm the GOAT

Remember when you cried in the visit hall

Now we can casually visit Rome

Or Phuket

We can act a fool in a LV store now, fuck it

Cah I remember I was locked and I never had nuttin'

How many times did they put me in court

And I had to face that judgement

Remember that time when I pulled up at yours

When the gun boys had me cuttin'

You do road in Prada runners

And you still keep it hundred

You can step neat in heels

I just might let you match the cufflinks

I know you want me home and any chance I get, I'm coming

You always wanna fall asleep in my designer jumpers

[Chorus]

But all I do (Soon as I get home)

Is think about the way you make

But all I do (Soon as I get home)

Is think about the way you make me feel

I want nuttin' but you when I get home

The way you make me feel, feel

The way you make me feel

'Cause baby, this love is so real

I want nuttin' but you when I get home

[Outro]

'Cause baby, this love is so real

410 Behind Barz – Skengdo X AM (410) (2017)

[Intro: Skengdo]

410

2Bunny

Big up all my peoples

Big up Link Up TV Behind Barz

Gang shit

It's the takeover

[Verse 1: Skengdo]

Bitch gave me blows at half past 8

Like 25 minutes before, I was in fields with mates

Hookers be giving the low

Don't make your business bait

Slip up straight that ain't wise

Rambo looking all bait

I know mum sent you shop

You might make it home today

This prick's looking all lost

Come we just check this weight

I swear he's throwing up Ks

Dududu bow in his face

Dududu dududu bow in his face

[Verse 2: AM]

See I run through gyal and I run through blocks

Bro hit a sale that's 1-2 shots

Girl in the green never washed her box

So I sent her home with a 1-2 bop

Crash don't dance man you must be lost

Hammer on my waist so my jeans don't drop

Man should've put him in the coffin

Put him in the boot, in the bag, in the box

Bang for the goons and I bang for the block

Man buss that corn dadadat dududot

Skrr skrr dudu dudu

Buss that corn then I'm back to the block

Bang bang put your guns in the air

Man caught that yute and his friend disappeared

Je jure sur la tête du ma mere

[Verse 3: Skengdo]

Crashers step, that's diligent thugs

Diligent who? Diligent where? You're just a diligent mug

Send for the Gs like no

Switched couple times are you dumb?

Shit den crazy mad up mad up

Bro bro splash up your lungs

Old school G got caught

How many times man slipping in cunch

Free Lil Twin that's bro

Free Peeler he's in love with the funds

I'm fucking dead I swear that's Ferb on the bus

Opp’s them chatty, ching like Maggie

Heard you want war with us

[Verse 4: AM]

Wait…

I…

Want…

Noddy…

And...

She...

Wants...

Love...

Dumb bitch, dumb bitch

On your knees and suck, suck

Dudu dudu

Back away from the sirens

Can't believe that I'm hiding

Is it Ambulance or the Trident?

But it's two peds and we're gliding

Hoody on or a hi-vis

Fuck a CRB, I need MOT cah that pussy there done mileage

[Verse 5: Skengdo]

Fat back and her face is cute, why do I beef these yutes?

No tweeting, they already knew

Corn come fat like Skully Zone 2

Got the maddest love for the dude

No face, no face, won't see who's who

Blacked out, blacked out, blacker than who?

Blackz with the blade and he brucked it too

You know my -- You know my darg’s are active

Get man down won't blab it's sad ting

Creep on your block on gang shit

Violence, violence, you ain't about it

Likkle man please stop chatting

Must be tasting the food

They wanna run around and gossip

[Verse 6: AM]

Cats in the bando doing up trap

But they gassed when I’m doing up maths

They was like "Boss can you make 150 from 410"

I don't know about that

4 over 10 (4/10)

Times 410 (164)

Minus 4 (160)

Minus 10 (150)

Did it work?...

Try it again

All now I’m still CDX

CDX like the Roman’s

I’m the one with the potion

Back that make the boidem see omens

Cuff that girl you're covered in lotions

Urgh

She comes to me when she's roasting

It's just the life that I've chosen

[Outro: Skengdo]

Ay Bunny squad

Yeah? Takeover

Foolishness - Skengdo X AM (410) (2017)

[Intro: Skengdo & (AM)]

Tired, tired, get him

(Du-du-du-du)

Chatty

Hold on

(Du-du-du-du)

Mad

Black, black

[Intro: Skengdo]

Come we just go and get him

And you wanna lie to your rasclart bredrin'

Watch how the crashers step in

Yes, we got those

[Hook: Skengdo]

So sick and tired of the foolishness

Like, come we just go and get him (get him)

Chat to the gyaldem (chatty)

And you wan' lie to your rasclart bredrin (liars)

Just pause for a second (hold on)

Watch how the crashers step in (mad)

Blacked out, hoodie on, and yes we got those leathers

(Black, black, black)

[Verse 1: Skengdo]

Man'll show man tekkers (dududu bow)

Rambo go through sweaters (dududu bow)

Good yutes, you got peer pressures (moist)

Don't act volts when you do church reggers (hmm)

They know that they need them blessings

The way I had the crash cut tru

Had niggas hoping the fences (bunny hop)

But it's back to the money (mad)

And if you go broke, you're stressin' (stressin)

Crashers first, it's destined (destined)

OD put corn where your chest is (bow)

Should invest in vests (cop dat)

Could teach you a lesson (mad)

Don't ever lack around me

I ain't 'lowing no one , go spread the message (no one)

No way this won't get deaded (never)

Talking all tough 'n dat (chatty, chatty)

Tell me, why did you blow? (chatty)

I told you it's cold

Be dashing phones

The feds, they want me to go (gone)

Guy your shoe look nice (mad)

Got fucked and you did 10 toes (dashin')

Getting them man from early (early)

And no one ain't backing out phones (pricks)

Now they want to say that we don't bang

Jus' cah nobody knows

Free GD out the can (free him)

Got me thinking when he's coming home (mad)

The judge wanna do him dirty (dirty)

They don't wanna send a man home (send him)

Around all my bros 'n' dat

Hoping the jakes don't take him from home

[Hook: Skengdo] x2

So sick and tired of the foolishness

Like, come we just go and get him (get him)

Chat to the gyaldem (chatty)

And you wan' lie to your rasclart bredrin' (liars)

Just pause for a second (hold on)

Watch how the crashers step in (mad)

Blacked out, hoodie on, and yes we got those leathers

So sick and tired of the foolishness

Like, come we just go get him (get him)

Chat to the gyaldem (chatty)

And you wan' lie to your rasclart bredrin' (liars)

Just pause for a second (hold on)

Watch how the crashers step in (mad)

Blacked out, hoodie on, and yes we got those leathers

[Verse 2: AM]

Du-du-du, du-du-du, du-du-du

Wake up, wake up

What's that smell in the air? (air, air)

Crash gang, fully on violence (violence)

If you really wanna take it der (let's take it der')

Man know that we do this properly (yeah)

Everything green like broccoli (like broccoli)

Man's tryna do them dirty (dirty)

And all now, no one ain't stop me (stop me)

Push that work, man's getting it gone (gone)

Diligent dip on anyone's son (son)

Man talk wass' get anyone spun (spun, spun)

Everyone knows we're getting it done (done)

I was tryna look for the worms in the mud (Dudududu)

And all now no one ain't called my bluff (Dudududu)

I ain't that cute, yeah I ain't that buff (Dudududu)

Girls on me get minimal trust ('dat's minimal trust)

That's minimal trust, minimal hugs (hugs, hugs)

Girls on me get minimal love (love, love)

Trust her once, won't do it again (nah,nah)

I ain't got time, that's digital, cuz (nah, nah)

Back my shank onto anyone's friend

Snatch man's soul, that's spiritual, cuz

Dash that shank, won't do it again(Dudududu)

Feds tryna lock this criminal, cuz

I’m in Baghdad (Baghdad)

I’m a soldier, I’m in Baghdad)

Big stick like a grandad

Hear the woosh-woosh and the bang-bang (bang, bang)

Oui oui, Jean-Claude I'm like Van Damme

Like a French man I said, "Oui Oui' (ay)

Trois cinq, bang, bang, bang!

[Hook: Skengdo]

So sick and tired of the foolishness

Like, come we just go and get him (get him)

Chat to the gyaldem (chatty)

And you wan' lie to your rasclart bredrin' (liars)

Just pause for a second (hold on)

Watch how the crashers step in (mad)

Blacked out, hoodie on, and yes we got those leathers

Air Force – DigDat (2018)

[Intro]

I was on the roads tryna double up

Home, now I wanna see my p's just triple

Had to run a boy down in my Air Force

Pissed, cah now they got a crease in the middle

Are you sure this corn will fit this wap?

Bro-bro these teeth ain't little

See a hottie with the biggest back

B, I'm not sure if 'dem jeans fit you

Ay yo, it's Dotty on the beat

Ay, CZR you did a mazza still

[Chorus]

I was on the roads tryna double up

Home, now I wanna see my p's just triple

Had to run a boy down in my Air Force

Pissed, cah now they got a crease in the middle

Are you sure this corn will fit this wap?

Bro-bro these teeth ain't little (Nah)

See a hottie with the biggest back

B, I'm not sure if 'dem jeans fit you

[Verse 1]

Excuse me miss, where you from?

My name's Digs—ask what I'm on

I just got back from a stretch

They didn't miss me when I was gone

Now I'm tryna not miss these sales

I get pissed when the ringtone stops (Brr)

What you know about sitting in jail

And you feel like the pillow’s giving you spots? (What you know?)

Whoever said that it's live are liars

White Serco, black car tyres

Bag of high fences and barb wires (High fence)

My shank, sharp like a guillotine

Long like limousine knife work cray, cray

Rudeboy, I do you up differently (Ching)

Hood on my head past twelve

Now they can’t see his face too visually (Nah)

See the green and red on my belts

So you know that it came from Italy

Sun's out, Air Force 1's out

Had to run a boy over the grass

They stay on their marks

Get set, go and just blow so fast (Where ya going?)

She's like coca-cola, golden

Can't you see her glow from far

This slate got meet up late

Putting it all into stones of dark (Chop it)

Just bring it up front like Rooney

S move like Diego Costa (Tap that)

Told her my life's like a movie

You ain't gotta go cinema

I can't bring home these groupies

Plus her boyfriend knows who we are

Said he's on me you're kidding

You don't wanna end up on the hit list

S got his Rambo twinnin’

Steppin’ with mine so we’re calling them triplets (three of them)

And everything I dig these days

Just wanna know DigDat's business

Let me chop and weigh this O

Got bisheads ordering bundles

Not one tick better pay as you go

This buj just runs black liquid (It's black)

Stick handle wood, it's vintage

And I don't wanna pick up the food

But I might sound rude if he don't give pictures

My phone just came encrypted

Want me in a case but it just got lifted

Hit a three on two times two

That’s ten-man serving ‘em one-by-one (Line it)

Hop out 'dem four-by-four on three-man, got two, one try run

(Hop out the four by fours on three-man, got two, one try run)

[Chorus]

I was on the roads tryna double up

Home, now I wanna see my p's just triple

Had to run a boy down in my Air Force

Pissed, cah now they got a crease in the middle

[Verse 2]

Whole of your head turn cheerio

Bally on my face like Rey Mysterio

This bally's on inside-out

Outside in my AJ, I'm sporty

See bro with his DayDate 40

Still getting cash, get paid they call me

Big guns like AK40's (Big ones)

Get the white out no ticks

Bad B, why your eyebrows so thick?

Flip one my favourite tool

You ain't getting that back gotta leave it all in him (Just leave it)

Just squeeze one hand in my glove

XL, but the index still won’t fit in

Baby girl, shake it well

Let me see you do more quinting (Rack-it)

Tryna make them do more sprinting (Where you goin'?)

Came a long way from sitting in my sell

That was twenty-three bang up on Sunday (bang up)

Got a warhead zoobie of cookies

So why would I bill it front-ways?

You got a man and you're saying these things

Bro, I don't think she cares (She don't)

Come link me I still have my thingy

You can't say I weren't prepared (No, they can't)

In my blue Dior or DSquared2

Like the slim fits low, I don't know about flares (Tighter)

Just squeeze both sides of the pot

Like when it goes pop you can smell these flavours (Smell it)

Love chip in my box, not a lot

This ammi made a man curl up like Quavers (Twiss' up)

Skid-skrr laters

Leaving your friend at the scene, outrageous (Gone)

90's baby, lighties hate me

Still take a next man’s boo (Tek' her)

I just came to the ting were neked

Now I got a pellet let's step back tru'

(Step back tru', step back tru')

Kennington Where It Started – Harlem Spartans (Bis, Blanco, Active, MizOrMac) (2017)

[Intro: MizorMac, Blanco, Active & Bis]

Kennington, where it started

Free D1, free Trap, free Kays

Kennington where my heart is

Free ST, free Hackz, free Kess

See the opposition starving

Free the mandem

Free Sav, free Smarkz, free Ty, free Loski

Kennington, where it started, like

Kennington where my heart is

See opposition get starving, like

My G TG, ay, bark it

Right step when I'm marching

Dip-dip, Prince have him dancing

I beg you pardon?

SA or Sav get out there and clart him

[Verse 1: Bis]

Treat beef like breakfast (Yum)

Two shanks, get 'round in seconds

Be feeding my area, peppers

Sparta, KuKu, real members (G's)

Got G's in the can with detention (Free 'em)

Three other girls that give man attention (Fuck 'em)

Opps chat man, fam I see it in my mentions (Fuck 'em)

Wake up, get my grind on like Section (Section)

Question (Listen)

If gang pull up, are you onna back your bredrin (Help)

Shouldn’t be screaming things for things

Man just kwoof-qweff him (Bow, bow)

Been out here, me and Sav, Savage

Why you wanna lock my bredrin? (Free 'em)

Spartans dip like custard cream

Now look at your wounds, you stressin'

And watchin' your friend, he leggin'

That's all mad depressing (Run up)

Trap, trap, sponsor a man

That's good grantsmanship (Misch-masch)

Splash, splash, splash

Any man that them man barking with

Splash, splash (Splash, splash)

[Verse 2: Blanco]

Step ‘round there, what’s good, what’s good?

Now I really sound like Bis

Give my guys my worn out hoods ('Tek it)

Five Spartans, ten eyes

So we know who's hood, who's good

Twenty-first century Spartans

Sorry if we do things Spartans should (Huh)

Don’t come round here shook, look

Really tryna get in our good books

Mashin' ain't dead, man cook good

Kennington blocks where cops look

I don't see them, my shots would

Been out here tryna break down buds

Why you gotta stop my jugg? (Word)

Free D1, real crooks man

That was really Phineas Trap

Free TY, free Loski Loose

Snow, ST, free Sav (Free 'em)

Free G-Smarko, T-Trap

Kennington stars, we demons

Really can't come, it's treason

Jakes jump out, we leave them

All the jailbirds need freedom

[Chorus: MizOrMac]

Kennington, where it started, like

Kennington where my heart is

See opposition get starving, like

My G TG, ay, bark it

Right step when I'm marching

Dip-dip, Prince have him dancing

I beg you pardon?

SA or Sav get out there and clart him (Gun him)

[Verse 3: Active]

Kennington

I was fifteen me and GTrap, hands on a Remmington (Trap)

Scrap fights at Waterloo like Wellington

Tryna rip holes and touch man's skeleton (Touch skeleton)

Opp boys can't see us, man's wettin' 'em (Wettin' 'em)

Kennington

I made my first bag in Kennington

Then I grab a twos and then I stack some more

We was 'dem man there we was riding in fours on the four

Tryna put a boy down on the floor

Can't come round 'ere, boy we be riding on yours

Me and T over there with the amm' like four

Dash a couple times ‘cause the feds really on it

Four-v-fifteen none them on it

So TY tryna put mans on the bonnet

Hammer over there my gyal just lock it, look (All of 'dem)

And how they gon' chat about us?

When we see dem man they cut

All of this talk, all of this talk on the net

More than ten been splashed, it's nuts (Splash)

D1, TY, Loose, Snow, Smarkz, Trap, Kez, ST, Kes, Hats

Niggas tryna take man's cabs

Kitchens, Rambzy's, I swear down man had a axe

[Verse 4: MizOrMac]

If a man's got his shank and you've got your shank

I beg you don't panic

The story be tragic, I back out my suttin

I push it in stomachs (Shh, shh)

'Dey say Harlem Spartans' on nothing

Say Harlem Spartans' some rappers (Ha-ha!)

'Til Harlem Spartans' out there marching

Back out the 'tings on faggots (Mmm!)

Bake off with akh

Laughing, heard Harlem Spartans get tarnished

Flip flops when I bop in Harlem

Say I'm not on the block then you're jarring (You're annoying)

I'm in Harlem, Harlem, baking off with my chocolate darling

We some bastards no daddies, swammies start blasting

Ten toes on ‘dem

Splash some gems and throw the things over gardens (Throw it)

TG JoJo from Harlem, stolen cars when dey bark it (Bark, bark)

Fuck it, violate turn to a target, no talking, no bargain (No talking)

Three-hundred Spartans

See them draw for the swords like Shaman (Draw them)

Barbecue up in Harlem

Aydee bill the 'ting and then spark it

Barbecue up in Harlem

Aydee bill the ting and then spark it (Ay-de)

[Chorus: MizOrMac]

Kennington, where it started, like

Kennington where my heart is

See opposition get starving, like

My G TG, ay, bark it

Right step when I'm marching

Dip-dip, Prince have him dancing

I beg you pardon?

SA or Sav get out there and clart him ( Gun him, gun him)

Hazards – Loski (2019)

[Intro: Loski]

Hazard

[Chorus: Loski]

Ha-hazard

Hazards (man down, man down)

Skengs on peds or toes with shanks: do damage (ten toes)

Like all I hear is sku-do and du-du, like uh uh

No one ain’t banging (no one ain’t banging)

Gyal said she want a Harlem boy, cah' the Spartans mash it

Man down, let anyone have it

Hazards (man down, man down)

Skengs on peds or toes with shanks do damage (ten toes)

Like all I hear is sku-do and du-du, like uh uh

No one ain’t banging (no one ain’t banging)

Gyal said she want a Harlem boy, cah' the Spartans mash it

Man down, let anyone have it

[Verse 1: Loski]

Dirty bruck back (normal), in a dirty trackie (disgusting)

Fuck off'd bally, nuttin ain't changed (nuttin')

I still make man panic (man panic)

True, I'm way to wassy

Before I smoke, I used to step with bassy (bassy)

'Dem man said it on A, do two in the front (no way)

We're putting two in the front

Squash four niggas in the back seat

Make man run like athlete (stop running boy, skrr)

Me and T’dun care ‘dem spots just pop like acne (bants, bants)

Like peng, peng all on man gyal, way too catty (way too catty)

Harlem Spartan, too trappy (trap trap)

Get dropped from the squad, don't back beef

Two hands on the mash get clappy (bye)

TT get a nine, get gone though (trappin')

I’m with jus that’s 9, not Rondo (that’s bro)

Man still money dance in the bando (get money)

L1 in the cut 2 Rambos (splash)

I love skengs and peds (peds)

Violence no meds (no meds)

They say 150 but it’s 146 (man, dead up)

True there friend, ‘dem dead (man, dead up)

I'm with Savage and three, that's any man stressed (man down)

Neck and any man's chest (bye)

Swim, get any man wet (man wet)

Emoki in any gyal text (tek any girl)

TG stepped out in Louis, broski looking like chess

How can a girl be rude and dead?

She lucky if she get third leg

She lucky, she lucky if she get third leg

[Chorus: Loski]

Hazards (man down, man down)

Skengs on peds or toes with shanks: do damage (ten toes)

Like all I hear is sku-du and du-du, like uh uh

No one ain’t banging (no one ain’t banging)

Gyal said she want a Harlem boy, cah' the Spartans mash it

Man down, let anyone have it

Hazards (man down, man down)

Skengs on peds or toes with shanks do damage (ten toes)

Like all I hear is sku-du and du-du, like uh uh

No one aint banging (no one ain’t banging)

Gyal said she want a Harlem boy, cah' the Spartans mash it

Man down, let anyone have it

[Verse 2: Loski]

And we turnt up Harlem (juggin')

My shooter, my shooter, my shooter, ahki just looking Bin Laden

(Bye, bye, bye)

Like I shoulda left the brucky with uh-uh

Probably would’ve left it in the garden (never)

And back then my dip-dip was large

Why you think it's bassy, I called it? (That's bassy)

And what's all the gossip? (What's the gossip?)

I got Madeleine and Jackson 5 in the trap house, you know that I chop it (juggin')

Shotty just oh so long, looking like Gora’s coffin (coffin)

Squa’ said she just done the 6, now she on the ends just boppin’ (bad, she bad)

Cut pack, do road

GT stepped with a 252, that’s a nine in OZ (nine)

Fuck it, all the big bro’s do snow

All the big bro’s do snow (winter)

Gyal said she want the trapper of the year like shit I probably give it to Snow (that’s bro)

Put two hands on that skeng I'll blast at your friend if I hear he's involved (bye!)

Manna do jail, do home

Dare you put hands on bro, ay

Trapping ain’t great it’s lovely, Harlem fucking up both

BP hot VS, like O

How you gon' beef, if you ain't got smoke?

Yuckface and T's involved

Free G Face and free C Rose

Paigons paigons are chatting like hoes

Move with the bruck back, 'dem man know (bye)

Link TG, that's train to go

Why you think I went jail cah I sleep with the smoke

Should of left it with uh uh, never bring it home

Harlem 011, that's O's

[Chorus: Loski]

Hazards (man down, man down)

Skengs on peds or toes with shanks: do damage (ten toes)

Like all I hear is sku-du and du-du, like uh uh

No one ain’t banging (no one ain’t banging)

Gyal said she want a Harlem boy, cah' the Spartans mash it

Man down, let anyone have it

Hazards (man down, man down)

Skengs on peds or toes with shanks do damage (ten toes)

Like all I hear is sku-du and du-du, like uh uh

No one aint banging (no one ain’t banging)

Gyal said she want a Harlem boy, cah' the Spartans mash it

Man down, let anyone have it

Edgeware Road – K Trap ft LD (2018)

[Chorus: LD & K-Trap]

I'm on Edgware Road with a gorgeous one and shisha smoke

Pocket rocket one inside my expensive coat

Still see me with M and Rose or see me with M and Rose

That's 18k's and waps that’s racks and water froze

I'm in a bando one up 2 Pyrex's full of yay If they kick this door then the kitchen windows my escape

Might see me with M or M that Skeng or that’s M.A

Owe the plug like 18k and still bought an 18k

[Verse 1: LD]

I woke up and made 5 quid

Celebrate with cookie

Still see me with M that’s no ifs, buts or would-be's

Cowboy like Woody

It cost me a arm and a leg but I fire this pin and burn this hoodie

Got me a brand new whip

Brand new bitch, brand new wap

Young fly boy getting paid off rap and fucking up council flats

LD still pull up on wass

2-5 shots do it and dash

Dem man dere's pockets are brass

And all now they talk about waps

I'm on Edgware Road with my burner

I just got off the phone to my worker

With a brownin’, she a hot one

Diamonds turn her to squirter

Just linked Skeng he's a anti don with a 18k and a blikky

Drop top Merc with some g's in the side

Slow drive through Bricky (gang, gang, gang, gang)

[Chorus: LD & K-Trap]

I'm on Edgware Road with a gorgeous one and shisha smoke

Pocket rocket one inside my expensive coat

Still see me with M and Rose or see me with M and Rose

That's 18k's and waps that’s racks and water froze

I'm in a bando one up 2 Pyrex's full of yay

If they kick this door then the kitchen windows my escape

Might see me with M or M that Skeng or that's M.A

Owe the plug like 18k and still bought an 18k

[Verse 2: K-Trap]

I was in jail that’s bowl of oats

Now it's 2 Pyrex bowls of coke

Still fuck with the press as well

Got corn for the opps of course

And extra ones for the rest as well

Last pack that I got was petrol

I swear this ones got a lesser smell

Shiny shoes with the spikes

But I still spend cash on bells and pipes

That's me and bro tryna slide and fry

Then set man's clothes a light

Gorgeous ting on the gram I

Just give her a like or 2 that's licked

2 weeks later she's mine at hers just holding pipe for pipes

Day in the life of Trap won't hear me lie on the track that's facts

Yeah it was us in the cut with waps all black on nothing but wass

Step with the 12, 2 loaded barrels opp boys throwin the towel

Get caught with this then it’s back to the showers

Radox gel and a flannell

[Chorus: LD & K-Trap]

I'm on Edgware Road with a gorgeous one and shisha smoke

Pocket rocket one inside my expensive coat

Still see me with M and Rose or see me with M and Rose

That's 18k's and waps that’s racks and water froze

I'm in a bando one up 2 Pyrex's full of yay

If they kick this door then the kitchen windows my escape

Might see me with M or M that Skeng or that’s M.A

Owe the plug like 18k and still bought an 18k

1Xtra – Smoke Boys (2018)

[Verse 1: Swift]

Are you ready?

(Mm-hmm)

Boom bang on my [...]

'nough gyal, Hugh Hefner

Anytime I get 1xtra

Swear down I feel like Hector (swear that I feel like Hector)

I was in that brought-down Vetra and we had that boom selector

Tryna' boom that bredda

Told bro do that right, then do that left

We just left a fed car

And I still do it for bro, still do it like blue will do it for zedda

Had a peng ting from Leicester givin' man xtra, what 'bout electra

Guess if she don't give head, kick that bitch out the bed like vector

And I already dance and flex

So 1 2 step like Skepta (ay, ay)

[Verse 2: Deepee]

Skr, skr, dee, dee that's a fed car (fed car fed car fed car)

Don't want me in but I'm out like Wenger (Wenger, Wenger, Wenger)

Change her agenda of a contender when I roll I enter

Yo bitch wanna press it like Beckham I bend her

I'm feeling a smack down, get the rock out, not the wrestler (ay, ay)

'nough gyal like Hugh Hefner (ay, ay)

Hit the block, givin' out a Malteser, for a tester 1xtra

Man are chatty like gyal two eggs up crack a man's egg and slap up man's eggnog, givin' man corn not lectra

[Verse 3: Sleeks]

Put gyal on a stretcher, right after I press her

Smoke weed, I'm Smoke Dogg, cocaine in the [...]

Fly out Toronto, rest up my bredda

I'm Champagne Papi, bottles in the VIP

Givin' the gyal dem testers

Stay dope like Hector

Snow man, got the dweller

Step out in ketchup all hot sauce and pepper

You was a top boy then turned out to a begger

Came up from the bottom, but I work in a cellar

[Verse 4: Knine]

French prince like Will but I'm fresher (fresh)

Walk in the building like who's my contender (who's my contender)

Brought down paps and I made them cellar

I was tryna get my bread up, she just wants me to get wet up (wet up)

With man I change up the weather

Plugs insist that I send em two extra

Hurry up and buy, I ain't givin' out testers (hurry up and buy)

Young boys run around, yeah they movin' reckless (reckless)

Yeah they movin' headless

Do you forget it, better not tell feds

[Verse 5: Inch]

I ain't fucking happy

Free my dons in the KJ sappy

Dem gyal too bloodclart catty

And your babe's gonna do it for the snappy?

1xtra, give a gyal extra

I like my gyal dem plus, not extra

Oh my days who's that top flexer

F money in the Benz looking expensor

Or should I say 'spensive

I know where I come from and where the ends is

Still show anywhere where my friends is

You know my ting different and splendid

Gyal love we well wan' touch we

Dem a cat for the jookin' and fuckrie

Anytime we do this then we say come back

Cus they love this flow we fuckrie

[Verse 6: Littlez]

Listen, I mean business

Been tryna get rich with quickness

I got peng tings lookin like thickness

Gyal wanna make movies but I'm not Idris

Straight litness

Pattin' up man's aunts and sisters

Might slap on the back like biscuits

Get 1xtra or I might just rinse it (you get me?)

Had food for the cats like Whiskers

And I shut down stages, big up the listeners

No Chinese whispers

Pourin' up champs and billin' up rizlas

More life, we live dis

Flex with Ron and Lester

Gyal from Brom-town and Manchester (skiii)

Mad About Bars – Digga D (2018)

[Intro: Kenny Allstar]

Mad About Bars

I know you lot have been waiting for this one

Ghosty

And believe me we ain't leaving, until we got another classic

So Digga D, let's give the streets what they really want

Mad About Bars, we're back

Cut tru' Digga

[Verse]

If they get nicked with the cannon

They won’t stay real and sing like Mariah

Conspire to change my attire

Rise that fryer and burn that liar

Bro known rider

He got down three and they all turned choir

And prior, prior, prior to this sixteen or higher

The opps turned bro to a lifer

300s, leathers on, no biker

And I was the only guy my age in West London with a sniper

See a man's eyes roll back from a chest shot attack

Free broski Striker

Or I press on a one .32

But I ain’t tryna find out my number on Lyca

Them man act for the net

But that’s not how they are off set

And when me and my amigos pull up

They take off, make off, they’re wet

Still bake off where shh got cheffed

Trap pays off, I still get bread

No days off, I miss my bed

Still blaze off, ay, fling that lead

Who's dem yutes? Spin that ped

Do it like Bruce, ching that head

I learnt from Cruz now I bring back Zs

Bro drop mad work, that weight get benched

Do it like Ratlin, hop that fence

But I bet you still get ching-ching

So it don't make no sense

Got a pack just in, that’s Bieber

On a Friday battering fish

But the Sunday coming ain't Easter

Little bro don’t know how to whip

He wants white wash, no FIFA

He told me he got it on tick

Ay, take that shit and go buy a new beater

Caasis, caasis, the ahkis call us caasis

Askar tryna raid man’s guri, they want man back in xabsi

Grab the xabad, Im charged up fully

Mask and hoodie, jump out the passy

Really tryna bullet that boy

No Walters, I ain’t doing up Ashley

I look psychotic when man get wassy

I need me a stain, now I'm searching, Finding Nemo

Add bash to the Bobby

See man got brown, no Nino

His silk gon’ cut when I back that smoke

The nurse ain’t using chemo

Don got dipped cah he tried run

I caught him a stich no Lilo

How much do you wanna B-E-T if I step on a Five with a Star

Suttin’ gon’ end up on BBC if I tell bro stop that car

Film in the four, two guns, take one, we're rolling

Lights, camera, action, cut-cut when I soak him

Ian's proper, every morning phones my blower

Food on fleek, take two each, I call that Noah

Twelve for a oner, or take more, I don't go no lower

And if Drip don't answer his phone

Then I'm all alone tryna bring back yola

Pyrex living, Pyrex whipping

Splash in the kitchen, get it back over

Brown and cute like Keisha

I cant lie Lisa, a real life moaner

Been getting these P's, ten point five of the baking soda

She wan' jump up, mash up the place

Pallance bitch, this ain't no soca

[Outro]

Kenny Allstar

Glossary

0-10

1Xtra: referring to BBC Radio 1Xtra, a digital urban and black music radio station in the UK owned by the BBC.

A

Ahk/Ahki: ‘my brother’ in Arabic.

Air Jordan’s: a brand of basketball shoes and clothing.

AK40: a type of assault rifle.

Amigo: meaning friend in Spanish-speaking areas

Askar: a Somali word for the police.

B

Bait: a slang term meaning being obvious, usually when doing something one should not be.

Ball: to have a lot of money and expensive items.

Bando: a slang term meaning an abandoned house, typically used to prepare drugs.

Beef: a slang term meaning to fight or argue.

Billin’: a slang term for rolling up marijuana in paper to smoke.

Block: a place where people hang out, usually where they are raised.

Bloodclart: a Jamaican expression of shock, surprise or annoyance.

Boo: a term used to describe someone one desires or loves.

Boom selector: a term used here to refer to a gun.

Bread: slang term for money.

Bredda: Jamaican slang to describe a male friend or person.

Broski: a slang term meaning brother or friend.

Brownin’: a slang term used to describe an attractive brown skinned woman.

Buds: a term used to describe cured and consumable parts of a cannabis plant.

Burner: a slang term for a disposable mobile phone, typically used for criminal activity and then thrown away so they cannot be tracked.

Buss: a slang term with several meanings, here referring to drawing a weapon.

C

Cah: an abbreviation for ‘because’.

Catty: a slang term used to describe someone who is bitchy or needy.

Caasis: meaning rebel in Somali

Champagne Papi: the nickname and Instagram handle of musician Drake.

Ching: a term used to describe violently stabbing someone with a bladed weapon.

Corn: a term here used to describe bullets.

Coke: a short term for cocaine.

Crashers: a slang term for gang members.

Cray: an abbreviation for crazy.

CRB: an acronym for Criminal Record Bureau.

Custard Cream: custard-flavour filled biscuits sold in the UK.

Cuz: a slang term like ‘bro’ meaning friend or man.

D

DayDate 40: a luxury watch designed originally released in 2015 by Rolex.

Diego Costa: a famous Brazilian/Spanish footballer. .

Dinger: a stolen or cheap vehicle.

Dip/Dipped: a slang term meaning to stab someone.

Don: a slang term meaning man, referencing the mafia.

E

Extra: over the top or dramatic behaviour.

F

Feds: a slang term for the police

Flexer: a slang term for someone who shows off, usually with expensive posessions.

Fryer: a slang term to describe a gun.

G

G: usually a term of endearment short for gangster.

Goons: refers to a gang member, usually of low ranking.

Green: here, green is used as a slang term for cannabis

Grind: a slang term for working hard.

Guri: a Somali term for house.

Gyal: a slang term for girl.

H

Head: a slang term for oral sex.

Hoes: an offensive term meaning prostitute, directed at women.

Hood: a term used to describe inner city urban areas.

I

Informers: a person who snitches or informs authority about something or someone.

Instagram handle: The name for what a person uses to define their username on Instagram (@...).

J

Jakes: a slang term for the police.

Jugg: a slang term originating from America, meaning to engage and make a living off criminal activity.

K

Kweff/Queff: a verb used to describe stabbing or shooting someone.

L

Lester: here the artists are referring to a video game character from, Grand Theft Auto V (2016).

Likkle: a Jamaican slang term used to describe something as small or little.

Link: to meet up with people.

Louis: here the artists are referring to Louis Vuitton, a French fashion and luxury retail company.

M

Maggie: here the artists are referring to television character Maggie Greene from zombie series The Walking Dead (2010).

Mash: short for ‘machine’, a slang term for a gun.

Mentions: here the artists are referring a tool on Twitter that allows one to look at when their name, or handle (@) has been tweeted about.

Metal: a slang term for a weapon

MOT: a compulsory annual test for safety of motor vehicles.

N

Neked: Jamaican pronunciation of Naked.

Net: an abbreviation of the internet.

Nicked: to be arrested by the police.

Noddy: a slang term for oral sex.

O

Opps: a slang term for opponents, rivals or enemies.

P

Pack: a term used to describe a bag of drugs.

Paigons: an insult, describing someone as a waste of time.

Peng: a positive term to describe someone one finds attractive.

Pin: a slang term to describe a gun.

Pipes: a slang term for a weapon.

Plugs: a slang term to describe a drug supplier.

Prada: an Italian luxury fashion brand.

Pree: a slang term meaning to take notice or pay close attention to something.

Press: here the artists use the term to refer to having sex.

Pussy: a slang term meaning cowardly.

R

Rack: a slang term referring to one grand cash.

Radox: a brand of personal care products such as shower gels.

Rambo: a type of survival knife.

Rambzys: A slang way of saying Rambo.

Reggers: a slang term for regularly.

Rizzla: a brand of rolling papers for cigarettes.

Road: road is a lifestyle, defined by selling drugs and being from the street.

Rudeboy: a Jamaican term originally referring to someone who is a fan of 2 tone ska. Here the artists use it to mean ‘bro’ or man.

S

Serco: Serco is a company that provides Prisoner Escort Services on behalf of justice departments.

Shaman: a person regarded as being in contact with good and evil spirits.

Shank: a slang term for knife.

Shook: a slang term for being shocked, worried or surprised.

Shots: a slang term meaning to sell drugs, or referring to a customer to sell drugs too.

Shotty: a slang term for shotgun.

Skeng: a Jamaican slang term meaning gun.

Smoke: can be a slang term for firearm or can mean conflict.

Snappy: referring to a mobile app called Snapchat, that lets users exchange pictures and videos (called snaps).

Splash: a slang term for stabbing someone. An allusion of blood splashing.

Squad: a slang term for a group that identifies as a collective.

Squirter: a slang term for female who ejaculates.

Stick: a slang term for a long barrelled handgun.

Stretch: a slang term for time in prison.

Switched: a slang term meaning to change attitude.

T

T/T-house/Trap: short and slang terms for ‘trap house’, meaning drug house, where drugs are prepared and sold.

Teeth: a slang term for bullets.

Tek’: Jamaican slang for take.

Tekkers: a slang term for technique or skill.

Thingy: a slang term for weapon.

Ticks: a slang term for giving customers drugs immediately and getting payed later.

Ting: a Jamaican slang term to say thing, but can be used to refer to a person.

Tool: a slang term for a weapon.

Trident: a short term for Operation Trident, a Metropolitan Police unit established to tackle crime in black communities.

W

Waps: a slang term for weapons.

Was/ Wassy : a slang term for talking rubbish or acting reckles.

Wet/Wet up/ Wettin’: a slang term meaning someone is weak and foolish. Also means to stab someone.

Whip: a slang term for a vehicle

White: a slang term for cocaine.

X

Xabad: A Somali word for a gun.

Xabsi: A Somali word for prison.

Y

Yay: a slang term for cocaine.

Yutes: a Jamaican slang term for youth to describe young people.

Z

Zeds: a slang term for 28 grams of cannabis

Appreciate