Journalism is not PR

Complaints about language are increasingly common sights on social media. The sensitivity around word choices reaches dizzy new heights every day, and there was one particular outcry that pushed me to dust off this old blog and scribe my thoughts. 

Here's a link - https://www.linkedin.com/posts/laurenpaton_ok-yes-theyve-changed-it-now-but-no-one-activity-7022154355017412608-UVX9?utm_source=share&utm_medium=member_desktop 

Yesterday I saw dozens of posts that were bursting with incandescence and demanded the BBC change a headline because it was so offensive. The comments inevitably bleated support, condemning the writer, and riling up other onlookers to contact the BBC to instigate an edit. 

For those of you who haven't clicked the link, the headline reads:

'Jacinda Ardern resigns: Can women really have it all?' 

Now, I could use this post to discuss whether these words are hateful and sexist or not, but that's a bit too obvious and that drum has been banged too many times, to too many deaf ears. Instead, I'd like to focus on the notion that principally, journalists ought to be left alone to write as they wish without fear of a mob forcing a change. 

I'm not opposing criticism of journalistic work nor am I opposing public debate on published materials. I am, however, worried about the idea that readers are able to exert such power over the writer as to edit his or her work so that it suits their taste. Incidentally, the writer of this piece was in fact a 'her' but this is something that slipped the mob's otherwise astute radar, and to those who did notice it didn't seem to make a difference - a crime had been committed as far as they were concerned, and the ecstasy of collective condemnation was far too intoxicating to dilute. 

The biggest problem, of course, as with all of these sensitivity cases is that the publisher (in this case the BBC) buckles to the baying of the crowd. The BBC gave in and immediately edited the piece as per the conditions of the faint-hearted yet frenzied plaintiffs. Apologising, appeasing, pandering - these are the usual response tactics and they only serve to exacerbate the problem which puts more power into the hands of the mob.

Does this mean journalists at the BBC will be frightened to express themselves, and instead write as softly as they can, ensuring they don't step on any delicate toes?

Probably. 

So, you see, with one outcry and one surrender, the quality and value of journalism are decreased.  I have argued recently, mostly with myself, that journalism has become PR because the media is so hyper-aware of political correctness and there's so much fear around being 'cancelled', the content they produce is done not to inform or express, but to please the audience, tick sensitivity boxes, and sell themselves as 'good' per the ever-changing standards, like a quivering peasant at the feet of an administrative overlord. 

We need tougher platforms and publishers who won't just give in and more importantly, won't dilute their content in anticipation of an angry mob - this is crying before you've been hit, it's the capitulation of integrity, like a bully's victim who suffers defeat before a blow has even been struck. 

This is one particular example I've highlighted, but I promise you there have been dozens of these cases on a daily basis for at least the last 5 years. There is much more at stake than most people realise - the entire foundation of western civilisation rests precariously on things like this but that's another topic for another blogpost. We've lost a lot of ground to thugs who don't know how to process thought in a reasonable, rational way but wield massive power and influence over what people are allowed to say and write - even enforcing edits and erasures without the speaker, writer or publisher putting up a fight. Journalism is not PR, it must not soothe the insatiable irritation of these people, instead it must inform at all costs, and inflame if it so chooses.  

Stormzy Surprised Me 3 Times This Week @Stormzy1

1. His Interview With Ed Sheeran and 2. His Appearance on 'The Last Leg'

For me, a keen observer of the universe for a few decades, a tell-tale sign of a future superstar is someone who can naturally embrace other cultures while maintaining their own. Until this week, I did not think Stormzy was this person but truth be told, he is the complete package. On his interview with Ed Sheeran he was capable of being vulnerably personal and touch on softer subjects which the 'hip hop' community generally views as taboo. I have watched underground stars have opportunities to cross into the mainstream world and they appear uncomfortable and out of place. Some artists just don't have that organic ability to be themselves but also engaged in any given situation.

Stormzy's admission to singing his lungs out to Adele underlines this. This is such a powerful and potent asset because it opens up his music to a worldwide audience. His size, stature and background mixed with his friendly, approachable, whimsical character gives him great appeal for every person of every culture and creed. Most 'White' celebrities tend not to associate or reach out to British urban musicians because they appear to keep themselves to themselves and un-open for a crossover. For example, could you imagine Piers Morgan having a good conversation with Giggs or Skepta - there's a sort of hostility there which doesn't exist with the jovial Stormzy. Just look at Bradley Walsh's comments on him, to me this is a huge symbol of the world Stormzy is tapping into just by virtue of being himself. 

      3. His Album

I didn't have high hopes when I saw the name because it sounded like a title which a PR firm put together. The album, however, was completely bereft of any marketing-induced mozzarella. Gang Signs and Prayer is full of originality, authenticity and maturity. Maturity is the key word because Michael Omari JR is only a young man but there is so much courage and esteem packed into this project - he is even venturing into singing vocals on this piece. It is him being him without any apology - I don't mean no apology to the industry, I mean no apology to the stereotype/ box he is supposed to stay in because of where he's from and who he grew up with. 

Gang Signs and Prayer is an artist being artist in the truest sense. He has also paid homage to the core of Grime with features from the likes of Ghetts, Wretch 32 and even a speech from Crazy Titch who adds a big black stamp of certification on Stormzy's career. So many UK artists do great until it's album time because they get scared of it - it's like a footballer who plays an amazing 90 minutes but then doesn't know what to do when he gets awarded a game-winning penalty. 

Great work Stormzy, you have surprised and impressed this cynical fool. 

Review: Weak Days, Strong Nights - The Manor (@_TheManor)

Growth is the word that comes to mind when I listen to this new EP. Musical maturity is reached by few and it is even more rare among those who haven't even broken through yet. This EP has just 5 tracks with one of them being a slight remix from their previous album. So really that is 4 new songs which this group is asking money for. And quite rightly!

It takes a certain degree of confidence and self-awareness to release a project with just 4 new tracks and ask for money in exchange. But this is how loyal The Manor's following is and this is how pure and plausible their music is. This is the kind of group whose fans purchase their material before they've even heard it. Show me another artist who isn't a superstar which commands that kind of respect from an audience.

Okay, so it's a small audience at the moment but that's relative. When they performed at Camden the other week, it was sold out very quickly. The show itself was explosive with the trio demonstrating all the experience and know-how from a group which has countless successful gigs under its belt. Then they took to Camden High Street with a publicity stunt which drew them a minor but meaningful media attention the following morning. It is little things like this which add teaspoons of gunpowder to an already simmering keg of momentum and cult-ness.

How's your father? 😂😂😂 big up the Daily Star 〽️ pic.twitter.com/ODFrYWJuQX— The 〽️anor (@_TheManor) 8 November 2016

 My favourite track is We Love It with The Reducer coming a close second. The Reducer is the song to fling on in the rave and I feel is a crowd hyper-upper just like Alors En Graft is. The crazy thing is that there are millions of people in the UK who can identify with the lyrics The Manor consistently throw out and there is an equivalent quantity who would enjoy the tongue-in-cheek, throwback beats and everyday-fella vibe.

The potential for these guys is massive. They have been helped so much by their loyal foundation supporters but there are so many more aspects and assets which bring value to the overall package. The charisma, the characters, the videos, the behind the scenes banter, the front of scene banter, the sheer lyricism, the courage to mix old school with new and the down-to-earth exterior - these are just a handful of items on the menu which make the Manor a force to be reckoned with and a force which I am behind, forever.

Purchase 'Weak Days, Strong Nights' here for just £2.99 - http://www.thestereoboutique.com/en/s/the-manor/145121 

Who is Kidd Kidd @ItsKiddKidd

Who is Kidd Kidd?

Kidd Kidd is the rasping, riddling rapper straight out of New Orleans. His accent adds to the colour of his rhymes but if you are a lazy listener who skims through music – you might get turned off. Lloyd Banks is known as the PLK of the Unit but I think Kidd humbly knows that he is not far behind. If you actually took the time to listen to what he is saying, you will know how smart this guy is with similes and sentences that are conjured up like Mazant magic.

I first came across Kidd Kidd via the song Big Bank Roll. The hook was catchy and his verses were powerfully delivered, I wanted to hear more. Then I heard him on Better Walk with 50 Cent, again, verses were sent from microphone to earphone like shots from a machine gun. No casualties taken.

Kidd Kidd is enjoying life despite female drama which recently sent him behind bars for a while. I see him on Instagram doing his thing, patiently waiting for his turn to unleash what is in his locker. I know he has a lot stored up in there, and it is all fire – we are ready Kidd Kidd. 

Follow @ItsKiddKidd on Twitter and @KiddKiddRG on Instagram.

Listen to his verse here -> one of my favourites ->

Happy Birthday @djwhookid Sada Pop!

Shout out to Whoo Kid, the incredibly humorous and vital cog in the G Unit machine. He went from mixtape branding guru to international DJ supporting artists from the UK too.

Here he is being his hilarious self -

G Unit Destroy Troy Ave's "All About The Drug Money" [LISTEN] @itskiddkidd @youngbuck @tonyyayo

When a Trio Falls Does It Make a Sound?

Yes. My favourite British rap group, The Manor, announced their retirement from the game and it delivered a shockwave which resonated throughout the trio’s small but passionately supportive fan base. It was surreal, I didn’t think it would feel so tragic but it genuinely left a strong scent of loss and reminiscence in the air as people’s own personal memories and moments involving the group and their music began flooding onto social media. Curiously, in my cynical head the alarm bells began to ring and my journalistic radar started whirring as I first thought this could be a genius plot and a cunning publicity stunt or it could just be another grave reminder of how cut-throat this particular art form really can be. The rap game has the cruel power to construct and combine individuals, peoples and nations but also to destroy and divide them with a relentless ruthlessness. From a pedestal I’ve observed the plight of The Manor among other favoured artists of mine and I’ve noticed that their authenticity and the quality of the actual music will very quickly secure them a small but tight-knit community of fans, followers and well-wishers. The second stage comes after they’ve released a few projects and they realise they might want to take this seriously so they seek management, gigs in places further afield and a low budget Simon Cowell type figure to guide them towards the success that they’re convinced their endeavours will bring them. The young artists will be vibrant and confident and will foxtrot around the periphery of the industry without really being able to pass the more significant stumbling blocks in the way. The most insurmountable sleeping policeman in the British urban music industry appears to be the fierce tug of war that takes place between authenticity and appeasement.

We can count the number of British urban artists that ‘made it’ in the last 10 years on one hand, I would argue that we can count the ones who succeeded without having to compromise their sound or their image on a few fingers. The head honchos in this industry are somewhat like coroners, they play a vital role in understanding the demise of certain artists and they also love placing people into boxes. It is easier for a label to churn out the same humdrum mediocre mainstream magnolia music than it is for them to invest in something risky but really real. Most lyrical content in popular music is aspiring at most, the things that these artists make reference to in the songs are often fabricated to elevate their own status in the mind of the listener. Therefore, it is rare to find music of substance where the average young Brit can identify with what is being said; Context is another authentic artist and in his ‘should-have-been’ hit song ‘Small Town Lad Sentiments’ featuring Mike Skinner he raps:

‘You play tunes of US rap and grime you can’t even relate to’

The female demographic essentially dictates what kind of music is made and played because the artists want to gain popularity by having DJ’s play their tracks on radio and importantly, in clubs. The DJ’s will only play the songs if it gets people (mainly ladies) dancing and enjoying themselves; therefore naturally, the type of music which would cater for this would typically involve addictive beats, catchy hooks and basic, easily remembered lyrical content usually including instructions on how to dance to that particular song (see Twerking). It is the aforementioned type of music which drowns the airwaves and saturates our eardrums so much that we buy it in order to achieve the feeling it gave us in the club or at that party, from our own personal mobile phones and MP3 players. The significance for the culture is even greater because it undermines the importance of authenticity and creates a ‘YOLO’ (*sighs*) mentality whereby the temporary enjoyment of the product is paramount but its production, its substance and its longevity are irrelevant. Great music used to be timeless, now it is as disposable as it has ever been; meaning the labels and their artists are under more pressure which when cracked either results in a surrender to the system or a tearful farewell, as was the case with my beloved band from South London. 

There is no doubt in my mind that there are 100’s of The Manors and Contexts up and down the country with great, authentic music but the nation is deaf to their talent because the industry simply doesn’t provide the vehicle nor the platform for them to accelerate and elevate. Music is a mirror as when it is done properly it is a reflection of the reality that exists for the creator, so when these real authentic artists eventually retire from their posts it is a loss to the community of fans who support them but crucially, to the art-form itself. When a trio like The Manor falls, yes it does make a sound, it does send out shockwaves but ironically, it is the silence that is most deafening.

Wiley – On A Level @wileyupdates directed by @skepta

Wiley – On A Level

For a long time I’ve held the belief that without Boy Better Know there is no grime culture. Of course the genre would still exist but these guys are really the last ones left who genuinely embody the spirit and authenticity of the art-form. My point is proven through Wiley’s latest release ‘On A Level’, when was the last time you heard Wiley put out a song as grimey as that, it’s been years surely and the mixtape material he does doesn’t count. It was no surprise to me that the video is directed by Skepta and the whole BBK crew is in the video as well as some unusual but exciting guest cameos from Giggs and Stormzy.

This is what they do best; keep it fresh, exciting and original without much compromise from the dress code to the beat itself – everything is kept authentic and entertaining. Criticism of Wiley’s lyrical laziness in his latest project has been well documented but here he really is back on a level, the scenes in the video project him as the godfather with his consigliore of MC’s around him all dressed in black. The hook is strong and repetitive but naturally lacks the firepower of a Heatwave type record which is okay because the real ruggedness and authenticity of this track more than compensates for that.

The only remaining question for me is whether this is just a one-off because the unity depicted in this song and video is obviously prescribed by BBK and frankly, it’s what the UK scene has been crying out for. Yes we have our collaborations on mixtapes and we tweet each other’s releases but there’s never really been that consistent togetherness and substance on a mainstream level. The teamwork aspect of this video is refreshing and the remix of the song has me licking my lips already – long may it continue.

When A Mountain Loses a Rock

On 17^th August 2014, Beulah Jackson, the grandmother of Curtis ’50 Cent’ Jackson unfortunately passed away. The cliché that life is a rollercoaster springs to mind, a bittersweet cocktail of ups and downs that has the cruel ability to plummet you to the depths of despair at any given moment. With the triumph of his TV show and what appears to be the revival of the careers of his brothers in G Unit, the summer was a smash hit as far as 50 was concerned but it would have all came to an abrupt, crashing halt this evening.

For someone who is notoriously thick-skinned and as emotionless as the bullets which bled his fears out in 2000, it’s difficult and surreally heartbreaking to think about how he must be feeling now that he has lost the only thing that we know he truly cared about. In his groundbreaking interview with Oprah Winfrey, Curtis admits that she is his heart; she took care of him when he couldn’t and in his song ‘Talk About Me’ he recites from his grandmother’s perspective:

                                ‘ Look at my first grandbaby he’s a big rap star,
                                Bought me a house, diamonds and a brand new car,
                                I told him what it takes to go this far,
                                Boy I’m the reason you are what you are’

Who knew that the Teflon, tatted boss with a mogul status would regularly go back to his grandmother’s house to paint her toenails and just be content in her company. His entire world changed so rapidly in 2003 but it is evident through his lyrics and his interviews that his grandmother remained his gravitational pull, his heart and his rock. When Lloyd Banks’ father passed away, 50 admits that he didn’t understand why Banks was mourning and not working, to him death was detached from grief, he couldn’t empathise with it. I think now he understands what it feels like to be shot again, I have no doubt that this will hurt him more than the bullets could ever have done and the question remains how will the brave-faced boy from 134^th street move forward from this.

I wish him and his family my condolences.

WAKE UP TO A FULL ENGLISH THIS CHRISTMAS

‘Full English’ Review

You know the feeling. You wake up after a night out, mouth dry, head spinning, clothes missing (or is that just me?) and all you really want is a full English breakfast. If you’re going out on Christmas Eve, that’s exactly what you’ll get on the following morning, except it won’t be served up by the Greek fella with a wonky eye from the greasy cafe down the road. On this occasion, the chefs are Danny Graft, Jonny Dutch and Scotty Stacks (they sound like Marvel characters, I know) and together they form The Manor.

Full English is the name of their third mixtape and it will be on your desktops on Christmas day. Downloading it really ought to be the first thing you do because, let’s face it, there’s only so many renditions of Wizard, Slade and tedious Channel 4 countdowns you can sit through before its predictability drives you to downing rather than sipping your mug of mediocre mulled wine. Consider this CD a present from everyone at The Manor, a gift, a god-send, something to indulge in while you’re waiting for Only Fools and Horses to come on BBC1.

As someone who has been an observer and admirer of The Manor’s work from their very first mixtape, I can honestly say that this latest edition, Full English, is an accurate representation of their evolution and development as well as their maturity as recording artists. There’s always been an overwhelming dose of originality and creativity in their music; the way it’s presented and produced, the humour, the light-hearted skits and even the visuals. One theme resonates throughout their projects and that is the realness and the ability for everyone to relate. Don’t expect guns, drugs and tales of terror; leave that to Denzel and De Niro. The tunes you will hear are a portrayal of events and emotions experienced by three boys who live on the border of the city and the ‘burbs, from nights out (good ones, mad ones, sh*t ones) and lads holidays abroad to relationships, romances, and the trials and tribulations of working class people. There’s a refreshing feel-good factor about this mixtape, a sensation of relief as you realise that among the heaps of bullsh*t you get thrown down your ear-holes on the radio – there still exists a small tribe of people who make good, honest music.     

The melodies, the punch-lines, the authenticity of the beats are evident throughout and blend together to create The Manor’s unique and instantly distinguishable identity. There’s also a subtle air of nostalgia sewn into the songs, the skits add to it too, and this is the reason why I am confident that any listener regardless of their age will enjoy a listen. Songs like ‘Shut Your Mouth’ and ‘Swings and Roundabouts’ inject a more aggressive tone to proceedings but it’s still not overly exaggerated or glorified beyond the realms of reality. These really are well-thought out, immaculately put together pieces of music and they just keep getting better and better with each mixtape.

Don’t take my word for it, head over to www.welcometothemanor.co.uk and download Full English as well as their previous two mixtapes if you haven’t heard them, they receive my strongest recommendation.

Merry Christmas!

Follow @_TheManor

Words by @RikyBains1

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