Licker; The Full Dissertation by Emily Drinkeld

LICKER Reviving perspectives on modern subculture through an experiential lense

â&#x20AC;&#x153;There are no subcultures to be discovered now. At least not in the western world. Its more about the remix of information.â&#x20AC;? (Lotta Volkova, 2016)

Fig.1: Events collage, 2017

Contents PREFACE

Subcultural de-differentiation

CONTEXT GRIME

08 1.1 The Growth of Grime 11 1.2 Clashing & Collabs 12 1.3 The Bearing of Brexshit 13 1.4 So What?

LOOKING BACK

15 2.1 Political Punk 19 2.2 So What? 23 2.3 The Sound of Ignorance 25 2.4 So What?

HYBRIDISATION THEORY 27 A Subcultural Mashup

PRIMARY INSIGHTS 28 Case Studies

RECONNECTION: A MACRO TREND 31 Introduction 32 From Audio to Visual 36 The Importance of Live 38 So What?

PRINT IS NOT DEAD

41 6.1 Case Study: Pineapple Magazine 42 6.2 So What?

WHATâ&#x20AC;&#x2122;S THE ANSWER?

PG 45 The Problem & The Answer

Fig.2 & 3: Scanner be d, 2017

THE BIG IDEA

47 The Big Idea 48 SWOT Analysis 49 The Wâ&#x20AC;&#x2122;S

THE CONSUMER

51 A Shift in Audience 52 Diffusion Of Innovation 54 The Inked Nostalgics 59 The New Wave Authentics

CREATIVE CONCEPT 63 64 65 69 70

1.1 An Introduction To Licker 1.2 Brand Essence 1.3 Competitor Analysis 1.4 What Will It Look Like? 1.5 Issue One

ROUTE TO CONSUMER 72 1.1 Route To Consumer 82 1.2 Consumer Journey 84 1.3 Distribution & Funding

FINAL SUMMARY 86 In Conclusion

Fig.4: Grime rave, 2016 05

The merging of musical worlds is not necessarily unfamiliar to our predecessors. In a recent article for Dazed magazine, British Photographer and expert in the Grime and Garage movement Ewen Spencer told us that “subculture has always been in the hands of the young” (Ewen Spencer, Dazed, 2016). As each generation passes, the youth seek out exotic and often culturally improper ways to form new-fangled social groups and stand out from an otherwise blended crowd. An influx of young creative minds absorb the juxtaposed subcultural worlds which came before them and, hungry for the taste of something new, intermix elements to create a shockingly beautiful new tribe of both style and sound. As we advance in society and continue to blur lines both socially and technologically, so does our music. Sian Anderson recently stated in a podcast that “you can have electrohouse, synth-pop, you can have lots of different things and maybe that is what’s making subcultures a little bit harder to define” (Sian Anderson, i-D Podcast 2016). It is this de-differentiation and fusion of subculture which has led me to evaluate whether a subculture can still exist so prominently in a bricolage society such as our own, and whether the spirit of these subcultures is dimmed in the process.

CONTEXT

CONTEXT GRIME OF GRIME 1. THE1. GROWTH

1.1 THE GROWTH OF A GENERATION Fig.7: White Waves Shapes, 2017

Fig.9: Black and White Slam, 2004

The undoubtedly British realism of Grime grew from an underground scene, however was seen to falter in its first attempt at hitting mainstream. After experiencing the commercialisation of Wiley and his once savagely authentic tracks at the beginning of the 2000’s, Grime experienced a transitional period similar to that of Punk. By revisiting its roots, Grime is experiencing a revival in authentic sound and passion. As a new wave of youngsters in our interconnected society increasingly relate to the frustrations of artists and their vehemence, Grime goes above and beyond being just a track. “Grime’s an expression, it’s a way of life, it’s a culture – it’s not just a BPM. You can make grime tracks with different feelings and different tempos” (Swipe magazine, 2016).

Fig.5: Hooded MC, 2016

Fig.10: WHQ Raver, 2017

Upon its first emergence, Grime was “an edgy, angstridden, confrontational sound that would soon come to dominate London’s council estates and reflect a stark contrast between rampant material aspiration and grim social realities” (Wheatley, S. 2010). It became the confrontational noise of an area, generation and lifestyle. It went beyond just lyrics and sound, adapting itself through DIY tracks on Fruityloops, a pirate software which quickly became used throughout East London to clash with other crews and MCs. This is where the origins of Grime exploded into youth culture; producing the likes of Ghetts and Wiley and steering the fierce and extremely real gang culture of the streets of BOW E3 into underground raves and slams. Grime as a subculture has been growing for years in the musical undergrowth of our society, being noticed occasionally in the past when filtered into a watered-down, upbeat adaptation of originally raw and vicious lyrics. Fig.6: Nadia Rose, 2017

Fig.8: Early Dizzee, 2004

The anger and frustration of the disillusioned black youth behind these tracks was therefore overlooked and mocked by an upper-class, mainly white authority within the music industry. Artists such as Wiley who are known as the Godfathers of Grime, moved away its the hard-hitting, venomous nature and towards a more acceptable and commercial interest. Adam Harper, musicologist at Oxford University, told me that “the image that the commercial music image tried to create of Dizzee - a playful, affable scalliwag - didn’t do him or the Grime scene justice, with its harsh and inventive sounds and lyrics” (Harper, A. 2017). With the rebirth and acceptance of Grime amongst popular society, there has been the inevitable doubt of a sound with such controversial roots, which “has been at best ignored and at worst demonised” (Swipe magazine, 2016).

Fig.11 Punk zines on a scanner bed, 1978-1982

“The resurgence of grime music to me in the last 2 or so years, comes from a shift in the music industry. Back during the shift from Garage to Grime in about 03-04 all people had to listen to Grime was pirate radio. Without pirate radio, grime music would simply have not reached the ears of its listeners in such a big way. The likes of Slimzee & Geneeus climbing up tower blocks to install radar dishes is a testament to the DIY approach that grime had originally. We mustn’t forget that Grime did hit the mainstream before, albeit a watered down pop crossover style. The likes of Skepta & Wiley coming out with poppy tunes like Bad Boy which charted at something like 24 in the UK chart shows this isn’t the first time the industry has tried to cash in on the genre. It’s definitely different this time around though.” – Frazer Robinson, co-founder of Strawberries and Creem Grime festival.

Fig.12 3D White Waves, 2017

1.2 CLASHING & COLLABS

The sense of togetherness in the world of grime is second to none, with collaborative cross-overs between individual MC’s such as Boy Better Know and Roll Deep clashing to produce licks and sounds completely circumstantial, improvised and fuelled full of passion. The young musicians of today are noticing the waves that Grime generating across the charts and within society, “they have a strong sense of community in the Grime world, it’s like you have the Elders and you pass it on to the Youngers and they all look out for each other. Everyone jumps on each other’s tracks and its about building that family and to strive for something bigger” (Amy Love of Nova Twins, 2016). The sheer amount of people coming together to join the movement and make their own voices heard is a testament to the craving for unity which these mostly young people feel. This sense of cohesion within the Grime scene is enhanced through streetwear (see Appendix 2.1a). The brands and image of an individual goes hand in hand with your credibility on the scene. With ties to brands such as Adidas and Nike since the emergence of Grime, style was seen as a way to establish yourself and a type of uniform was created which fit both the aesthetic and the budget of those who created it. Fraser Cooke, Nike’s Global Energy Marketing Director emphasised this in the book Streetwear: The Insider’s guide by stating that “streetwear basically means a culture or series of movements that emanate from the ground up. They are born in the streets, usually springing from the young and less financially advantaged, and mostly involve a musical element, style of dress associated, perhaps a visual imagery that binds it together and often a drug” (Vogel, S. 2007). Still, the importance of such subcultural movements often lies within their roots and original purpose. There has been much controversy in terms of whether the grime scene has altered its motivations to fit with mainstream society, but Ashleigh Kane of Dazed and Confused argues “I don’t think it has become less powerful or different to its original roots. I think a lot of this stuff we’re seeing is still about collaboration and community and there’s still a lot of the original mentality there” (Ashleigh Kane, 2017). This enhanced sense of unity and looking out for one another is what helped to create the scene in the first place and so the importance of it remaining is almost crucial to the survival of raw, emotive grime.

Fig.13: White Waves Style, 2017

1.3 THE BEARING OF BREXSHIT

age, 2017 ration and coll Fig.14: Illust

Many macro factors and trends come together to form reasoning behind Grime’s bubble-up within society, one of which being the macro trend of Sober Services. This is a craving for knowledge and understanding of what is happening to our country politically. (See Appendix 4.1). The FutureLab trend talk stated that this is a “reflection of what happens when you provide accurate information to teens – they can make informed decisions” (FutureLab 2016). Alongside this is the trend of lifetude. Teenagers are liberal, open and socially conscious, meaning that while previous generations stuck their head in the sand and lived amongst a hope of something better, today’s young people are activists; they want to be proactive and physically make a change to their own future. Therefore, Grime appeals to this generation in particular as with knowledge comes power, meaning that more and more young people are recognising the value of their voice in modern society.

Fig.15 Mura Masa by Yoni Lappin, 2016

Fig.16: Alienation of youth scanner bed, 2017

which is held annually, also offered his opinion of this recent resurgence of Grime, stating that it “is a lot more authentic sounding and wasn’t devised to sell units and cash in unlike the 20072010 era. This generation of artist is also a lot more genuine, and the fans that weren’t around during the first phase are doing their research on the origins which is only beneficial” (Frazer Robinson, co-founder of Strawberries and Creem festival, 2017).

Original subcultural ideology behind the likes of the 60s and 70s counterculture which we are so familiar with can still be heavily related to the most recent wave of Grime and it’s anti-authoritatian stance, as McGrath outlined at the time of these tribes emerging; “No matter how many raids and arrests the police make…there can be no final bust because the revolution has taken place WITHIN THE MINDS of the young” – (McGrath, T. 1967). Grime has stopped trying to be accepted, and through doing so has ironically became more widespread than ever. As Adam Harper outlined, keeping true to its roots in both sound and purpose means that “if it became more accessible, say with smoother, more danceable melodies and moods, it might no longer be grime...” (Adam Harper, Oxford University Musicologist, 2017).

Therefore, this more genuine and realist form of Grime can be explained through the lack of communication and relatability between our government and young people. They feel as though they are not represented in mass society, and so act out through artistic mediums such as music in order to make their voices heard. More individuals are feeling outed by their own country, and want a platform to express their discontentment.

Frazer Robinson, co-founder of the Strawberries and Creem grime festival

CONTEXT 2. LOOKING BACK CONTEXT 2. LOOKING BACK

2.1 POLITICAL PUNK

Fig.17: Glitched text, 2017

When we talk about Punk today, a series of hardened and often aggressive visuals spring to mind; their toughened characteristics and callous attitude are after all what gave them their intimidating reputation within society. 1970’s Thatcherism, alongside a growing Working Class doomed into recession, meant that “they were a generation which the politicians didn’t really seem to care about, which gave the people an impetus to take back their own future. No future was a punk anthem but they took it and ran with that and made it into a future” (Derek Ridgers, i-D podcast 2016). However, the communities which originally congregated to inspire change are still very much alive today, if not in image in mindset and way of life. While “putting out records and putting on gigs was the next step in this culture of DIY ownership, anti-hierarchy and cultural activism” (Revolting, C. 2016), the neglect of an entire generation of youth alongside the boredom of an often mundane, unfulfilling and unsatisfactory working class life and occupation are the origins of the subculture.

Fig.18: Foremans Bar in Fisheye, 2017

Jason Whittle, owner of the Punk bar Foreman’s in Nottingham, expressed in a recent interview that “when Punk started, rightly or wrongly the press put some kind of aggressive label on it because the music was aggressive. Some of the people were, I won’t lie about it some of the people were idiots, they would cause trouble and of course, it takes one person to cause trouble for the press to leap in. You could have 100 people having a great time and just one idiot…That’s all the people remember isn’t it? It had to shake all of that off and almost rebirth itself, which it did do” (Jason Whittle, owner of Foreman’s Bar Nottingham, 2017). 16

Fig.19 Common ground collage, 2017

SO WHAT?

Fig.20: 3D Raver, 2017 Fig.21: Boredom quote on scanner bed, 2017

From this recycling of ideology, we are then able to notice emerging tribes within society who are responding and feeding off current events, expressing their own opinions and making their stance known to an older and more ignorant society.

Fig.22: Working Class Angst collage, 2017

2.3 THE SOUND OF IGNORANCE

Fig.23: Wolfgang Tillmans, 1990

Fig.24: Line illustration, 2017

Today, the impending threat of Brexit alongside the ever-growing #blacklivesmatter campaign means that the voice of the workingclass black youth becomes louder and more relevant than ever. “Grime gave a voice to a generation of young people who felt voiceless, something that feels particularly timely in the light of the UK’s growing #blacklivesmatter movement” (Bromwich, K. The Observer, 2016). Grime music offers a type of release for this group within society, providing a relatable means to unleash the passion and rage of this generation. It has been predicted that “in a time of such unrest in the UK, the rise of Grime will continue to bridge the gap between the unheard youth and government – picking up where Punk left off’ (Hewison, G. 2016), and Grime is not a phenomenon which is strictly a UK movement nor is it something restricted to race.

together. As well as providing background on the origins of Punk, Jason Whittle also observed how the two can be comparable, stating that “it’s all out of anger, and in the 80s in New York where rap started black people had a lot to be angry about. Anger and boredom. So they were possibly born of the same thing” (Jason Whittle, owner of Foreman’s Bar Nottingham, 2017). This mirrored exasperation which we see today is the same as 1960’s and 70’s however now in a contemporary context, as “Skepta and his BBK crew represent a modern day revolution, reflecting the 60s counter-culture explosion” (Trendell, A. 2016). These same original morals of annoyance, fury and determination can be found behind any subculture and within the Grime scene particularly. Ashleigh Kane emphasised the importance of community and ties within the Grime scene in a recent interview; “I think it’s really about a community that is selfsustainable. They’re making their own music videos, they are making their own music, making their own art, everything. They don’t need record execs, so if you’re thinking about it in that way then definitely it is the new Punk” (Ashleigh Kane, Arts & Culture Editor at Dazed Magazine, 2017). It is in this respect that the Grime scene mirrors the past Punk scene – through a strong DIY attitude, persistence to ‘make it’ without any authoritarian record labels and a loyalty to the original Grime sound.

Similar frustrations felt globally, such as the election of President Donald Trump, have meant that Grime has began to flourish outside of Britain. Adam Harper, musicologist at Oxford University, explained this explosion of popularity as being “because it’s become a tradition, something with a history, something to be respected. I think American artists are using Grime to reflect edgy and authentic tastefulness.” (Adam Harper, Oxford University Musicologist, 2017). This has ensured an established platform for Grime as it quickly spreads from its London roots, as the Arts and Culture editor of Dazed recently told me in an interview “there isn’t a colour to it, there’s not a race to it or a gender. There’s not a class to it. Obviously it comes from an estate culture typically but the people that are making it are the first people to say ‘this is all inclusive, if you feel with it and you fuck with it come be with us’” (Ashleigh Kane, Arts & Culture editor at Dazed Magazine, 2017). Grime and Punk have more recently been compared to one another, illustrating similarity in motive and resentment for the way in which our society is governed pulling the two

SO WHAT?

Fig.25: Youthquake quote on scanner bed, 2017

Looking back at previous subculture, ‘music became the most vital form of communication and identification for young people’ (Records and Rebels, V&A Museum 2017). Politically-driven, angst-filled music paired with the disillusioned and neglected youth created protest and a voice for the new generation that had never been heard before. The idea that ‘the counterculture embraces many ideas but at its heart lies a fervent anti-authoritarian stance and the belief in self-exploration’ (Records and Rebels, V&A Museum 2017, see Appendix 4.3) still reigns true today. While some subcultural movements may not have had such an enraged external image as the likes of the 1960s and 1970s Punks, their internal motivations and frustrations at wider society are what drives their subculture forwards and what makes the majority of past subcultural movements cohesive.

CONTEXT 3. HYBRIDISATION THEORY

Fig.26: Brandaholics, 2017

3.1 A SUBCULTURAL MASHUP

So what does this mean? As subculture is becoming harder to define, the notion of its existence and theory that it is now outdated comes to the fore. As Derek Ridgers expressed, “If a couple of beatniks or teddy boys walked up here now, I’d be able to recognise them. If there were grime fans wandering down, I’d never know it” (Derek Ridgers, i-D Podcast, 2016). However, when looked at close enough it is easy to see the established uniform for subcults such as Grime. Therefore, we can summarise that subcultures do in fact still exist today, however in the now large and vast pool of different styles created through globalization we must look harder in order to find them.

The idea of cultural differentialism within today’s society is becoming increasingly devalued. This is the theory that cultures are “clearly bound entities with a specific geographical location” (Wikipedia, 2017), suggesting that culture is an immovable and unchangeable entity. Today, it is the exact parallel of this which is the cause of subtribes and the de-differentiation of culture overall. “The importance and influence of hybridity theory is closely related to an increased awareness of global cultural flows, influences, and interdependences, both historically and contemporarily” (Frello, B. 2012) and has done so since the 1980s, whereby subculture had became credible through the distinct identity of Punks, Teddyboys, Mods and Rockers. This credibility is now overlooked and downplayed by society because of hybridisation and as globalisation grows (see full case study in Appendix 2.1b). The number of emerging subcultures constantly rises as individuals intermix elements from the past to establish their own style.

Fig.27: ‘Wag1?’ collage, 2017

CONTEXT 4. PRIMARY INSIGHTS & VISUALS

Fig 28: Primary imagery collage, 2017

4.1 White Waves The White Waves event which I attended in Boxpark, Shoreditch was what first exposed me fully to the Grime scene and its live events. The sheer emotion and raw connection which individuals had with lyrics and bars of the tracks played was both inspirational and almost unexplainable. (See Appendix 2.2a)

4.2 Nova Twins The Nova Twins are key to this amalgamated idea of subculture, having previously been described as a blend of Punk and Grime or ‘Grunk’ because of their heavy basslines and angrily-spat bars and lyrics. After recently attending one of their events, it was clear to see their creation of their own genre both musically and stylistically. In a recent interview they shared their top playlist of inspirations telling me that “people [of previous subcultures] enjoyed being in their comfort zones I guess, and we’re the generation of mixing it up” (Amy Love, Nova Twins, 2017). (See Appendix 2.2b)

4.3 Nadia Rose Seeing Nadia Rose perform live meant that I could grasp a unique perspective from a key female in the industry. Being a predominantly male sphere the Grime world is expanding rapidly, and with that new issues - namingly ones of gender and inequality - are being voiced by the top female talent in the industry. (See Appendix 2.2c)

Fig.29: 3D Nova Twins collage, 2017

CONTEXT CONTEXT 5. RECONNECTION: A MACRO TREND 5. RECONNECTION: A MACRO TREND

Fig.30: Digital influx edit, 2017

‘70% of Millennials are interested in digital detox and mindful meditation, being drawn to the idea of focusing on the moment. The concept of taking a break from digital and immersing oneself in analogue pastimes is strongly resonating with Millennials.’ (WGSN Millenial Anti-Hedonists report, 2015). This is a trend which has grown over the past two to three years, with the knock-on effect spreading to other ages within society surrounding the millennials. As design and textiles move towards a more organic and raw approach, and “a shift from the artificial, emphasis is moving towards colours derived from the natural world” (WGSN Organic Brights Report, 2016), the trickle-down trend is moving into our everyday lives, as people are no longer wowed by technological advances and want to reconnect with a more interactive way of life. (see Appendix 2.1c) 31

5.1 FROM AUDIO TO VISUAL

Stemming from this, Grime can be seen

‘the scene can’t progress if it is ushered

as a form of expressionism in the modern

into a cosy dead end of nostalgic beats

world. As a more modernistic merge of

and a tiny handful of media-accepted

poetry and music, its evocative nature

MCs. The ability to innovate is of crucial

has the power to persuade and lead a

importance to the new wave of MCs and

group of people who believe in the same

producers if the grime revival is to be

notions and have the same political stance.

more than just a hollow, zeitgeist-grabbing

Therefore, naturally, visual art is the next

term’ (Swipe Article, 2016). As a new

fore-thinking step for Grime as a subcultural

wave of musical artists are accepted into

movement. The opportunity to encompass

the community, what is to stop a new

the visual aids of a subculture in a more

wave of visual artists? Ashleigh Kane

youthful and intriguing way relates to the

expressed that “there’s scope for Grime

idea that ‘over the past few years, urban

to inspire art if it hasn’t already, and

subculture has seen a magnificent rise from

we’re seeing incredibly documentation

low-end silhouetted darkness to a bright,

through photography. People like Vicky

brilliant and powerful artform’ (Cresswell,

Grout who is really in there. You’ve got

J. 2016). Using art as a platform to push

Ewen Spencer, who was there for the

modern culture forwards creates a sub-

first lot. That is art - photography is art”

genre in itself, transforming audio to visual.

(Ashleigh Kane, 2017) (See Appendix

It provides a new way of presenting a

2.3-2.3d)

subculture, in this instance Grime, to its audience and possibly attracting a new breed of custom. Therefore, the bubble-up impact of grime could in the coming years become an art movement within its own right, as new-wave art movement come to the fore (See Appendix). As with all subculture grime is constantly looking for ways to grow and evolve, and

Fig.31: Grimes album artwork, 2016

Fig.32: Grime art, 2015

Fig.33: Banksy artwork, 2017

Fig.34: Reuben Dangoorâ&#x20AC;&#x2122;s Holy Trainerty II, 2016

Fig.35: Skepta scanner bed collage, 2017

Fig.36: Scanner bed Skepta, 2017

5.2 THE IMPORTANCE OF LIVE

The macro trend of moving away from technology and the digital sphere means that the importance of live events and physical, tactile experiences is something which is particularly relevant to my consumer. This trend means that live music gigs and events are constantly growing in popularity for our generation and Gen Viz in particular. The growth in the popularity of music festivals and underground DJ culture alongside the importance of an authentic experience shows that we crave genuine, physical contact with other people as well as a reconnection with ourselves; we want to move away from the fabrication of digital and towards a meaningful, deeper experience. This ideology of selling an experience is exaggerated through the popular high street brand Missguided opening their first stores across the U.K (for full case study see appendix 2.1c).

Fig.37: Tokyo Rock n Roll Bar, 2017

Fig.38: Secret Cinema quote on scanner bed, 2017 37 07

SO WHAT?

Fig.39: Experiential festival, 2016

Therefore, as the trend of experiential mediums becoming more effective trickles down from millennials to consumers across the board, we must now consider a more creative, tangible approach to the way in which we deliver digital information. Combining digital and physical methods is inevitably the best way forward, however as a brand a focus on the physicality and palpability of the product will unavoidably drive sales.

CONTEXT CONTEXT 6. PRINT IS NOT DEAD 6. PRINT IS NOT DEAD

6.1 CASE STUDY: AIRBNB & PINEAPPLE Fig.42: Pineapple magazine, 2016

This trend of physicality has naturally had a knock-on effect on the print industry. For a market which was seemingly outdated and on its deathbed, the tangibility and credibility of print is undeniable and unshakable. ‘Consumers are more engaged when reading printed material, unlike websites, which are often skimmed in as little as a 15 second visit. A study shows that people read digital screen text 20% – 30% slower than printed paper’ (Alshaali & Varshney, 2005), meaning that without the consumer even knowing, they are more absorbed and attracted to the tangible medium of print.

Fig.41: Airbnb logo, 2017

Airbnb have launched Pineapple magazine in 2014 (see full case study in appendix 2.1d), growing their brand from a primarily online source to include more offline mediums than ever before, meaning that the crossover with consumer touchpoints is much greater, thus resulting in more success for the brand overall. It has been described as ‘a kind of coffee table centerpiece, a tangible piece of travel-oriented storytelling that makes staying at an Airbnb a bit more of a branded experience than simply using the app to crash at someone’s house’ (Baker, D. 2015), ultimately building the brand values which already existed and creating a stronger, consumerfocused brand image.

Fig.40: QR Code quote on scanner bed, 2017

Fig.43: Pineapple magazine spread, 2016

Fig.44: Pineapple content on scanner bed, 2017

SO WHAT? The initial reaction to physical media, as opposed to digital, is one which is calmer yet more exciting, rougher yet more luxurious and develops a physical connection with the consumer. Unlike online mediums whereby you are constantly rushed into the next scroll or click, the consumer can leisurely take in text at their own pace.

Fig.45: Legitimacy in print quote on scanner bed, 2017

CONTEXT 7. WHATS THE ANSWER?

Fig.46: Sketchbook scan and digital collage, 2017 44

Fig.47: Physicality quote on canner bed, 2017

the problem

the solution

There is a serious lack of credibility in terms of music publications as well as Grime itself, as it is often passed off as a fad when it is a huge influence on today’s society both musically and politically and is a huge byproduct of the disillusionment and neglect felt amongst today’s youth culture. Many different subcultures which experience revival are subject to these same wronged stereotypes as it is a topic which is never out of fashion or untimely. This idea paired with the macro trend of Gen Viz and the fact that ‘forms of communication that require longer periods of concentration are increasingly less relevant to members of Gen Viz, who prefer highly visual formats’ (FutureLab, 2016) suggests that a visual yet experiential platform is needed to meet the needs and desires of this new generation. The macro trend of a move away from technology and a craving for something organic, authentic and genuine supports the revival of print; proving that it is in fact not dead at all but, similar to Grime, being revived from the bottom-up.

A craving for tactile realism in an ever-growing digital world paired with current trend in a need for print shows that ‘in order to stand out as meaningfully different in the minds of consumers they’ve got to spend equal amounts of energy in non-digital and digital environments to define something that can stand up to the forces of digital nature’ (Adamson, A.P. and Kirkpatrick, D. BrandDigital: Simple ways top brands succeed in the digital world, 2008). Combining this yearning for an anti-digital platform with the current conversation on subculture and hybridisation led me to my Big Idea as a solution.

Fig.48: Primary imagery and illustration, 2017

Modern youth counterculture is often severely overlooked and misjudged by our society, creating an unmistakable lack of credibility. This paired with the fact that more young people want to move away from the digital world in favour of tactile and physical mediums means that there is a lack of a platform to do so. Therefore, my Big Idea is to

Establish a sense of credibility for contemporary subcultures, using the revival of print and yearning for an experiential platform.

In terms of uniqueness my Big Idea is not only tackling the subject of hybridization, but is a hybrid of concepts itself. There is an opportunity to create an engaging, visual-first form of communication between subculture and the outside world, placing emphasis on the already established sense of community and commitment within these movements. (For full development, see Appendix 6.1-6.9)

Fig.49: SWOT analysis, 2017

My big idea is not only related to grime but could also be applicable to wider subcultures and so has scope for longevity. In addition to this, because many subcultural movements are still in generation there is a chance to catch these ideas and visuals as they are growing and evolving.

There are already many different established subcultural brands, such as the likes of Fred Perry Subculture, and my brand will need to stand out. Therefore, the USP of my big idea needs to be considered.

The fact that Grime has barely been observed through an â&#x20AC;&#x2DC;fashion lenseâ&#x20AC;&#x2122; suggests that chances are many other subcultures have also been overlooked in a similar way. As well as this, there is a chance to develop a recipe which can be applicable to many different movements within subculture. Finally, there is an opportunity to discover how and in what ways music impacts on different individuals.

A threat of my big idea is in finding a reason for the execution to be bought. What would attract the consumer? Who would the consumer be? I plan to tackle this within the execution phase of my project and in defining the consumer I believe this threat becomes invalid.

Appreciators of music, youth culture and contributors to the artistic community.

A physical and digital space to enhance the sense of community within subculture and make mainstream society more aware of their traits. Something which is directly related to and in sync with subcultural communities.

It is happening now – subcultures such as grime have always been established in their own right but never fully understood by mainstream society where there is currently a new wave of subculture.

The ongoing debate of print vs. web and an online platform vs. a digital reality makes it difficult to determine, especially when considering the consumer. However, my consumer will definitely have more of an interest in print, and I will use the digital sphere as a means of promotion to attract attention.

The grime scene is rarely looked at through an ‘fashion lense’ – grime amongst other subculture is misinterpreted in wider society and currently has a lack of credibility. There is a lack of a bridge between the grime world and art, and therefore an open opportunity to encourage and expand in this sector. It will help to develop the identity of many up and coming subcultures while simultaneously raising awareness of the fact that subcultural movements aren’t just a fad but genuinely inspire people and make a difference.

Fig.50: The Big Idea W’s, 2017

Fig.51: The Consumer on scanner bed, 2017

Fig.52:

“The way that grime has journeyed into the mainstream. The audience has shifted - back in the day it was pretty much the ‘endz’, with raves shut down for security concerns, and now its quite a hipster thing. Yet the music is still coming from the same raw and vulnerable place.” Shift in audience quote on scanner bed, 2017 (Wheatley, S. 2016) More young people than ever can relate to grime as a genre thanks to the interconnectedness of our technological society. They have become aware of their surroundings, are keener to make change and through being conscious of their disillusionment have recognised and are susceptible to, the unfair disadvantage a young black male obtains. Skepta recently revealed his own experience of the music industry as “the scene was looking for token black boys. What the scene got was black boys saying fuck you, we’re gonna do this ourselves” (Pirate Mentality documentary, 2016). Now however, it is not just the young black male who can relate to Grime. The original pioneers of Grime are not only becoming role models and key speakers because of their image, but also because of their morals and ideas. For example, in a recent interview Adam Harper stated that “the popular stereotype of a grime listener is of an angry, hooded young person of colour. But I think at least as many listeners are slightly nerdy white ‘hipsters’” (Adam Harper, 2017). More and more individuals who increasingly do not fit the generic visual stereotype of a gr ime fan are becoming interested in the genre, as the aforementioned political debates are addressed within our society. Speaking of previous subculture, Chomsky debates that “the net result is an atomised society of disengaged individuals who feel demoralised and socially powerless” (Chomsky, Profit Over People: Neolibrealism and Global Order 1999), which is very clearly one of the reasons for the flourish in grime over the past two to three years. These new Bricolage teens consist of Generation Viz, who are “the most

networked and racially diverse generation in history” as “transnationalism and layers of identity are becoming more common, particularly amongst the young” (Golden, I. 2016). They are not necessarily defined by age, and the fact that Grime is becoming more commercialised however still staying true to its origins reflects the idea that “the listener base has diversified but partly because of the music industries realisation that grime sells & their willingness now to push it on Television, Radio etc.” (Frazer Robinson, 2017) Thus, the mutual feeling of frustration and devaluation by wider society grows alongside and within this generation and Grime, offers a platform to represent these individuals. In a recent FutureLab Trend Talk, it was outlined that “‘If you don’t see yourself represented, you don’t feel like you are part of a landscape. Its like you don’t exist” (Collins, P. 2016). Grime originally gave this unheard generation a purpose and voice among the streets of South London in its original emergence. Now, this same motivation is recirculating but this time as part of mass society, as the number of racially diverse and politically active young people grow. “I think Grime definitely gives a voice to these young people who feel frustrated with the way in which the world seems to be forgetting about them & disregarding their futures. Young people relate to the young people who are in the spotlight talking about issues that relate to them. It’s a reason why Grime was so popular in the council estates. Because they were relatable.” (Frazer Robinson, 2017).

Within Rodgers Diffusion of Innovation, both of my consumers will sit in the Early Adopters segment. This is because while they may not be innovators of trend they are extremely aware of it and are the first to experiment in individual ways with it. Being in this section also explains their interest in my product, as the early and late majority may refer to more commercially available means of accessing this kind of information, such as news websites and online articles. I want to offer a more independent, immersive product to my consumers and with the occurring macro trend of being involved in something physical and authentic, they will be the first to adopt this trend.

Fig.53: Diffusion of innovation, 2017 52

Fig.54: Nadia Rose on scanner bed, 2017

Fig.55: Inked Nostalgics consumer collage, 2017

inked nostalgics These consumers are aged between 35-45. They live in Shoreditch, London and use the Underground as their main mode of transport. On a Monday morning, you can usually find them with their over-ear Bose headphones drowning out the hustle of the city and George Orwellâ&#x20AC;&#x2122;s Nineteen EightyFour in their lap. Working in web design and development means that this consumer is more tech-savvy than the average individual in this age sector, and their digital life mainly consists of visual platforms such as Pinterest and Instagram to show their followers what they get up to at the weekend. They tend to steer away from Twitter, only following their favourite musicians for updates and album releases, and only have a Facebook account for work purposes and to keep in touch with friends from back in the day. They are a dabbler in photography when walking their Irish Water Spaniel, Jake, and often take trips to visit their good friends living in the Lake District to get away from their hectically wonderful lives. They often get together with friends at the weekend to discuss their favourite new releases on Spotify, that Bonobo DJ set and to plan their next group trip back to Berlin or Amsterdam. They can be found casually sipping neat whiskey at the back of a Boiler Room set with friends or at Rebellion festival having a smoke and swigging their favourite ale. They were an original fan of punk zines in the 70s and their love of independent zines and publications stemmed from there; now the likes of Union, Law and vna drop through their letterbox regularly. Although still loyal to their more alternative roots, they are open and willing to try new and exciting genres. They are eager to learn about and be involved in new musical movements, listening to people like Jamie XX and Four Tet while they work and Gentlemanâ&#x20AC;&#x2122;s Dub Club or Stormzy before heading out. They regularly attend art exhibitions across London; some of their favourites including the work of photographer Wolfgang Tillmans and the nostalgia of Records and Rebels at the V&A. Other artists such as the likes of Peter Blake, David Hockney and of course David Bowie are key inspirations to them, and their Instagram is full of regrammed pieces.

@mayanton

Fig.57: Instagram Consumer, 2017

new wave authentics New Wave Authentics are aged between 18-25. They live in a shared house with their 4 friends in Manchester, getting around on their skateboard or bike and occasionally using Uber as a last resort after a night out. On a Monday morning, they can be found rolling out of bed 15 minutes before their first lecture and pulling on their nearest pair of Levi’s, a Palace hoodie and whichever pair of Vans have the least holes in them. They are a graphic design and illustration student with a key eye for trend and interest in modern architecture. After not using Tumblr for a good few years, they have recently started to become attracted to the platform again after discovering some of their new favourite artists such as Rueben Dangoor and photographers Dexter Navy and Naomi Wong. Their Instagram is mostly style-based due to their love of streetwear however also documents short videos of their progress in mixing as they learn from their DJ friends, as well as some ‘sick shots’ of the latest skate trick in their repertoire. They only use Facebook to find nearby events and to see who’s attending out of their social circle, and tend to record and re-post set after set on their Snapchat of last weekend’s house party. They mostly shop online to find the best deals for streetwear brands such as The Hundreds and Supreme or a new pair of Nike trainers. Other websites such as totalape.com and vice feed their hunger for street and youth culture and inspire them to create their own graphic work. A keen lover of the revival of print, they are a subscriber to Stack magazines and regularly purchase Pause magazine, Cranked, Another Man and Viz. They prefer using the design layout and physical illustration of these publications as inspiration rather than simply finding the next best thing on Pinterest, and would rather invest in attending events or public lectures on these topics rather than listening to a podcast. They are the most likely out of their group to whip out their 35mm film camera on a night out to Sound Control or Antwerp Mansion, and have somehow mastered the art of focusing shots with one hand while a can of Heiniken or Red Stripe dangles from the other. Their collection of records comes out at full force on a hungover Sunday and has been enriched by The Clash, Kiss and Red Hot Chili Peppers hand-me-downs from their Dad. They have since added the likes of Drake, Jungle and Mura Masa to the ever-growing pile from Piccadilly Records – although they’re waiting for their housemate to pay them back for the Foals 12” which they accidentally used as an ash-tray that one time. Since coming to University their taste in music has developed from Indie to almost anything on the spectrum; they know all of the words to JME’s track ‘Serious’ but still remix their favourite electronic beats too. On the odd occasion when they aren’t living off their usual student budget, they grab some Thai street food with mates and head to Afflecks Palace for some thrifty clothing finds. Any extra money from their student loan goes towards the Leeds Festival fund or is used at the next art fair they visit to cover any blank space on their wall which is left.

Fig.58: New Wave Authentics consumer collage, 2017

@kkirstenk

Fig.61: Creative concept on scanner bed, 2017 62

AN INTRODUCTION TO LICKER

Fig.62: Logo introduction, 2017

Licker is a brand connecting the musical world with the physical world, through a subcultural lense. Bringing together a love for independent print and a passion for live events, Licker is a monthly zine and subscription service which aims to inspire the reader to reconnect with live experiences and temporarily disconnect from the digital sphere. Licker aims to provide an insight into different musical worlds while simultaneously allowing the reader to experience it through attending an event. Through featuring the upcoming talent in each genre, as well as visuals which represent the subculture, the zine is intended as a warm up and type of preparation for the upcoming event; establishing the tone, energy and overall vibe of what the reader should expect. Named from the idea of â&#x20AC;&#x2DC;licks and barsâ&#x20AC;&#x2122; in a song, Licker is intended to spark visuals within the mind before even knowing what the purpose of the brand is. It is the idea of tasting and sampling a subculture before diving straight in, and establishing the tone of what to expect. The visual logo development has been influenced by musical inspirations from the likes of the Rolling Stones and artwork from the likes of Barney Bubbles and Andy Warhol who were key visual influencers throughout the original zine period, whom my consumer will be able to identify with (See Appendix 7). 63

1.2 BRAND ESSENCE

Fig.63: Brand Essence Model, 2017 Fig.64: Competitor analysis, 2017

1.3 COMPETITOR ANALYSIS

Licker automatically stands out from other publications through the notion of it being a subscription service as opposed to a publication which you can go into a shop and purchase. The combination of print and an event is something which is also unique to the publication, as it is very rare that tickets to an event come with a magazine in a type of â&#x20AC;&#x2DC;bundleâ&#x20AC;&#x2122;. (See appendix 2.4 for full case studies)

Fig.60:

Fig.65: Digital and Print quote collage, 2017

Fig.66: Brand perceptual map, 2017

1.4 WHAT WILL IT LOOK LIKE?

Fig.67: Colour palette, 2017

The development of my colour palette was inspired by neon colours originally used in 70s Punk zines, as well as key consumer Instagram imagery, and the filters which they chose. A more modern adaptation of the original CMYK colours used in traditional print was also considered, using key colour trends to make the final palette. Names such as Vermillion Kiss and Misfit Frost were inspired by classic bands from the 70s who contributed to subcultural impact, while others such as Soured Lemon and Peeled Tangerine are intended to reinforce the tone of voice and immediately connote visuals.

My chosen font for the logo reflects the jarring impact of digital and the macro trend of moving towards the physical, with a nod towards the trend of glitched text and image. It also portrays the ‘broken’ or stereotypically unjust portrayal of modern subculture. The font will mainly be used in Leathered Key and Misfit Frost. While the visual and text combine to create the logo, they will be used separately on brand merchandise such as stickers and jacket patches. The logo for Licker is especially important, as I intend on using it solely for the front cover of each issue. This way, the content of the publication becomes more exciting to the reader as the subculture is only revealed once you open the zine. Similarly to brands with a cult following such as the likes of Supreme or Palace, the logo alone will develop a sense of meaning and excitement.

Fig.68: Brand Sticker, 2017

The idea that the zine will be posted through the door adds to its validity and authentic feel as a publication and thus will establish a type of credibility in the minds of its buyers. Printing onto newspaper develops a DIY ethic, which spreads across many different subcultures and not just Grime alone. As Amy Love of the Nova Twins expressed in an interview, “they work hard, it’s all off their own backs and they’ve created this movement that has pushed aside the industry to the point where they’re important. It’s an important part of today’s culture, for the youth to have a voice” (Amy Love, Nova Twins, 2016), Licker is a platform for this voice. Finally, the content fact that it is entirely based around subculture completely juxtaposes political material usually printed onto newspaper. Fig.70: Sniffin’ Glue Zine, 1976

Fig.69: Logo variations, 2017

This medium of print is also in fitting with the tone of voice of the zine. The style of photography combined with graphic illustration can be related directly to the 1970s zines such as Sniffin’ Glue, whereby these types of visuals thrive on newsprint. Other 70s zines incorporating colour seamlessly, and my colour palette of clashing brights will pop against the organic background which newsprint provides. In a similar way to these zines keeping costs at a minimum to sustain the publication, this form of print means that a focus can be placed on the collaboration with different events. Much of the funding can therefore go towards the marketing of Licker and the collaborative event itself.

1.5 ISSUE ONE Tone of Voice

Issue one focuses on Grime, its subcultural roots and its standing in modern society. In terms of the event which the publication is paired with, Licker will collaborate with White Waves â&#x20AC;&#x201C; an established fashion and events brand based in London who organise Grime, Hip-Hop & Dancehall events across London (See Appendix 2.1e). I chose this events brand as my first collaboration because their events are reasonably priced meaning that, as Licker is only just becoming established it would be realistic to achieve. After attending their Boxpark event in January first hand, I was able to gage the true authenticity and excitement of the event; relating back to early Grime raves and MC battles.

Fig.71: Zine Tone of Voice moodboard, 2017

Design inspiration

Fig.72: Zine Illustration & Image moodboard, 2017

1.6 ROUTE TO CONSUMER

Fig.73: Events Timeline, 2017

EVENT The event takes place with social coverage, including an Instagram Live story.

1 MONTH BEFORE EVENT A4 posters begin to appear across the cities, advertising the brand with direct links to social media and the website.

3 WEEKS BEFORE EVENT Smaller risographed flyers appear in independent print shops, while branded stickers are left in key consumer touchpoint areas. The instagram account encourages consumers to post pictures of the found promotional material, with the use of #lickermag

3 WEEKS BEFORE EVENT Consumers begin to notice spotify ads appearing at the side of their playlists, and choose to follow Licker on the platform.

1 WEEK BEFORE EVENT Licker zine is sent out to all subcribers, and the subcultural theme and event becomes known. The countdown begins on the website, while the event and brand collaboration is announced on social.

1 DAY FOLLOWING THE EVENT Use of hashtags #lickermag and #lickerxwhitewaves is encouraged through social platforms, with the incentive being a free subscription for the following month. Images with this hashtag are showcased on the brand website with a direct link to purchase for next month, and the cycle begins again.

Fig.74: Route to consumer on scanner bed, 2017

1.1 ROUTE TO CONSUMER BEFORE

OFFLINE: A4 posters will be advertised in a guerrilla-style, and stuck over other posters to draw attention. These will contain either lyrics directly related to the subculture in question, or solely the logo and use the brighter colours of Lickerâ&#x20AC;&#x2122;s palette as a background colour.

Fig.75: London posters mock-up, 2017

MAIN ROAD, NTU CAMPUS

SPANKY VAN DYKES, NOTTINGHAM

ROUGH TRADE, NOTTINGHAM Fig.76: Risographed Flyers, mock-up, 2017

THE BODEGA, NOTTINGHAM

Branded stickers will be left in hotspots directly related to the consumer. Sitting alongside the likes of Supreme, this will then encourage potential consumers to find the brandâ&#x20AC;&#x2122;s online presence and buy into the product.

Smaller versions of posters will be released as flyers in independent magazine stores such as the likes of Ideas on Paper in Nottingham, Magma in Manchester and magCulture in London. This will encourage consumers to research the brand. These flyers will be risographed to support the DIY ethic of the magazine, and will create impact through following the colour palette of the zine.

ONLINE: The only paid advertising will be shown on Spotify, whereby keen music enthusiasts are likely to spend a lot of their time and therefore develop interest in the brand.

Fig.77: Spotify advertisement mock-up, 2017

Fig.78: Instagram story mock-up, 2017

Instagram will be used as a key visual motivator to drive the consumer to buy into the zine. It will act as a motivator by giving clues as to what the subculture in question is, using bold imagery and colloquial captioning. Twitter is essential in creating a brand voice and tone, as “one of the most herculean tasks businesses face is being relatable, personable and recognizable to their audience” (Wilding, Social Technology Review, 2011). Through creating a following on this platform it will be possible to connect more with the consumer directly and develop a sense of community around the brand. Furthermore, “many trends have become viral on Twitter before other news sources, so much in fact that it is becoming the first point of reference for many – and with 600 million searches every day that is a huge market to miss out on” (Wilding, Social Technology Review, 2011). Therefore, in terms of exposure for the brand and developing a following in the first place, an online social presence is essential.

Fig.79: Instagram post & tone of voice, 2017

The hashtag #lickermag will be encouraged across all platforms for followers to use upon receiving their copy of the magazine, as well as when finding a sticker, poster or flyer and documenting it on social media. This will generate conversation between the brand and consumer, creating a community surrounding the brand and eventually leading to an increase in interest, word of mouth, and overall readership.

75 31

Fig.80: Lyric poster mockup, 2017

Fig.81: Guerilla-style posters, 2017

1.1 ROUTE TO CONSUMER DURING

Fig.82: Instagram collaboration reveal, 2017

The combination of independent print with an event is crucial and most definitely the brand’s USP. Through changing the usual sequence from social media, event, publication, to social, publication, event, an entirely new emphasis is placed on the publication itself. While they are collaborative in terms of marketing, the publication and event at this stage are two separate entities. Throughout the release of the magazine it is vital to keep an interest in the subculture at hand and throw emphasis onto the brand which the magazine is collaborating with – in this case, White Waves.

Licker will be released one week prior to the event in order to still generate hype but keep the subculture secretive until the last minute. Promotional taster videos will be released across social channels, and White Waves will be tagged in various social posts to establish the link.

There will be a 7-day countdown on visual channels from this point such as the website and the Instagram account, to generate more interest, with a direct link available to directly buy the subscription service and purchase extra tickets if needs be. The magazine will contain two tickets to the event – one for the subscriber Fig.83: Website countdown page, 2017 and one for a friend to have a ‘taste’ of Licker. 78

Fig.84: Instagram Live Story mockup, 2017

As opposed to having a separate Snapchat account for the brand, I will utilize the Instagram Live function. This will reach out to over 100 million people per day as a behind the scenes look at the brand, showing the making of the zine and event coverage. This is because â&#x20AC;&#x153;the one thing Instagram Stories now has over Snapchat is live videoâ&#x20AC;? (Alba, Wired, 2016), making live coverage of the event more exciting and encouraging followers of the Instagram account who have not yet subscribed want to be a part of the next event. 79

1.1 ROUTE TO CONSUMER AFTER

Fig.85: Twitter tone of voice mock-up, 2017

On the day directly following the event, social media will encourage more individuals to share images and videos from the night with the hashtags #lickermag and #lickerxwhitewaves with the chance of being reposted, retweeted and mentioned directly on primary social accounts.

Fig.86: Spotify playlist mock-up, 2017

On Spotify, a playlist will be made of top tracks in relation to the event and subculture and will be named â&#x20AC;&#x2DC;ISSUE #1â&#x20AC;&#x2122;, allowing the consumer to follow Licker and connect with the brand directly through music. This generates conversation and hype between attendees of the event, subscribers of the magazine and fans of the subculture wanting to purchase Licker.

Fig.87: Website mock-up with consumer imagery, 2017

On the website for the brand these reposts will be key to generating awareness and so will be the main focus of the landing page, with a direct link to buy the subscription service. Social media reposting will continue for the following week until the hype of the event has died down, whereby marketing will begin again for the second issue of the magazine.

Fig.88: Loyalty loop, 2017

1.2 CONSUMER JOURNEY

Fig.89: Consumer journey, 2017

Created through physical risographed materials and a strong social presence on visual formats such as Instagram

Generated through taking away physical mediums such as flyers and stickers, and researching the brandâ&#x20AC;&#x2122;s online presence

Becoming fully aware of brand values and image, and resonating with them. Looking into what the subscription service entails, and becoming interested in the subculture through trying to guess it on Instagram. Becoming involved in the online countdown and excited by the suspense. Posting photos of found stickers, using the brand hashtag and directly communicating with the brand online.

Buying into the subscription service, trying to get featured on the brand site and making their social circle aware of the brand. Involving them through encouragement to attend the next eent and buy their own suscription. From here, this cycle starts again.

1.3 DISTRIBUTION & FUNDING

The zine will be available to buy online through the Licker website. Although this may at first seem out of reach for many consumers, my integrated marketing plan (see timeline and following pages) will encourage social following and generate interest in the brand. The consumer journey becomes an essential factor from noticing and finding the brand to establishing a connection with the consumer and encouraging them to purchase.

Licker will be sold through a direct link to a Big Cartel page â&#x20AC;&#x201C; there is no charge to sell and so all funding goes towards the making of the zine itself and promotion directly before the event . The price of the zine will be â&#x20AC;&#x201C; ÂŁ12 taking into account that two tickets to an event are also enclosed.

The zine will be A4 in size, and packaged in a black envelope with a branded sticker on the back of the packaging, to establish brand image but sustain excitement and anonymity. It will be from 15-20 pages, with the potential to grow in size alongside the popularity of the brand.

The main ethos of the zine is focused around providing an offline, raw experience, however the digital sphere must be taken into account especially when we consider the consumer. Taking into consideration Gen Viz, Instagram and Tumblr will be the main drivers in terms of consumer interaction. The only paid advertisement will be used on Spotify to keep costs at a minimum. Tactile, offline advertisement such as guerrilla-style posters will be used to generate intrigue.

Fig.90: Kickstarter brand imagery, 2017

Funding Licker through a kickstarter campaign means that consumers fully invested in the idea can become a part of its experiential nature and are in effect making it happen. By contributing to the campaign, consumers will not only feel like they have been an essential part to Licker becoming a reality but will also feel more integrated within the brand and therefore more invested in the values of the brand. This, in turn, will drive the consumer to become more passionate about the brand and become more of an influencer; encouraging their friends to be a part of the kickstarter campaign thus resulting in more brand exposure. In addition, each event will take place in different regions of the country, starting off in London, Manchester and Nottingham and going on to expand with the brand; something which the subscriber will be made aware of before buying into the service.

Many subcultures are often passed off as fads, ‘stages’ of a young person’s life or something which everyone inevitably grows out of. They are thrusted antisocial reputations, and are misunderstood by wider society through an often violent or stereotypical image. This reputation, combined with the greater diversity of individuals in society, means that the notion of subculture becomes questionable and lacks credibility. However, a growing trend of wanting to get back to the organic roots of physical print and experience, paired with a yearning for reconnecting with the offline sphere, means that more and more individuals of Gen Viz are making their voices heard; whether it be through anti-political lyrics or feminist publications. The USP of Licker is a combination of re-establishing and redefining what it means to be a part of a subculture, and providing a raw, uncut experience. Licker proves that subculture is not an outdated theory through addressing the craving to understand different subcults across the UK. In a society where new tribes appear online every single day, we can never run out of youth culture. Once Licker is started it’s almost like domino effect in terms of funding; we can only grow. Finding something completely original, paired with the buzz and thrill of a live event, is ideology which people never tire of and which will fundamentally keep Licker afloat.

Fig.91: Conclusion collage, 2017

FINAL WORD COUNT: 8798

REFERENCES

•Adamson, A.P. and Kirkpatrick, D. (2008) BrandDigital: Simple ways top brands succeed in the digital world. New York, N.Y: Palgrave Macmillan (Accessed 17 January 2017) •Alba, D (2016). You can now go live with Instagram stories. Available at: https://www.wired.com/2016/11/can-now-go-live-instagram-stories/ (Accessed 24 April 2017) •Arrigo, Y. (2017) Experience vs Things: What to do, Next? Available at: http://www.eventmagazine.co.uk/experience-vs-things-do-next/research/ article/1429012 (Accessed 24 April 2017) •Baker, D. (2015) 7 Brands With Print Magazines That Are Actually Awesome. Available at: https://contently.com/strategist/2015/07/20/7-brands-with-printmagazines-that-are-actually-awesome/ (Accessed 24 April 2017). •Bromwich, K. (2016) The Observer: Grime: The Voice for a Generation (Accessed: 18 January 2017) •Channel 4 (2016) Pirate Mentality: Episode 1 - How Pirates Made Grime. Available at: http://www.channel4.com/programmes/pirate-mentality/ondemand/64569-001 (Accessed 17 January 2017) •Cresswell, J. and Dazed (2016) Ewen Spencer’s new photos trace our subcultural evolution. Available at: http://www.dazeddigital.com/photography/ article/33204/1/ewen-spencers-new-photos-trace-our-subcultural-evolution (Accessed: 28 October 2016). •Falusi, C. (2016) Don’t judge print: it’s not dead yet. Available at: http://www.thedrum.com/opinion/2016/07/08/dont-judge-print-its-not-dead-yet (Accessed 24 April 2017) •Frello, B. (2012) Cultural Hybridity. Available at: http://onlinelibrary.wiley.com/doi/10.1002/9781405198431.wbeal0297/abstract (Accessed 24 April 2017) •Hewison, G. (2016) Grime is the new punk. Available at: http://www.concrete-online.co.uk/grime-new-punk/ (Accessed: 17 January 2017) •i-D (2016) Does Subculture Still Exist? Podcast. Available at: https://soundcloud.com/i-d-online-1/do-subcultures-still-exist (Accessed: 15 October 2016). •Jones, W. (2016) Interview: Photographer Simon Wheatley on the square documentary ‘Golden Boys’ and ‘don’t call me urban!’ Available at: http://uk.complex. com/pop-culture/2016/05/interview-simon-wheatley-the-square-golden-boys/ (Accessed: 28 October 2016). •Khayyer, J. (2016) Lotta Volkova: ‘There are no Subcultures anymore. It’s about the Remix.’ Available at: https://www.businessoffashion.com/articles/creativeclass/lotta-volkova-there-are-no-subcultures-remix-stylist-vetements-balenciaga (Accessed: 26 October 2016). •McKenzie, F. (2016) How Grime Culture Is Smashing It For Brands. Available at: https://www.linkedin.com/pulse/how-grime-culture-smashing-brands-faronmckenzie (Accessed: 16 January 2017). •Revolting, C. (2016) Anarchy in the UK? The politics and people that produced punk rock. Available at: https://rs21.org.uk/2016/11/27/anarchy-in-the-uk-thepolitics-and-people-that-produced-punk-rock/ (Accessed: 16 January 2017). •Swipe Magazine (July 2016) The Future of Grime: Key moments in Grime’s rise to the mainstream (Accessed: 18 January 2017) •Swipe Magazine (July 2016) The Future of Grime: Where does Grime go next? (Accessed: 18 January 2017) •Szymanska, A and Buchanan, V. (2016) The Future Laboratory: LSN Global. [Lecture to Fashion Marketing & Branding, Nottingham Trent University] (Accessed October 2017) •Trendell, A. (2016) Stormzy speaks out on being active, political and fighting racism. Available at: http://www.nme.com/news/music/stormzy-0-23-1191556 (Accessed: 31 October 2016). •Vogel, S. (2007) Streetwear: The Insider’s guide. London: Thames and Hudson (Accessed 17 January 2017) •Wheatley, S. (2010) Don’t call me urban - Info. Available at: http://www.dontcallmeurban.com/info.html (Accessed: 22 October 2016). •Wilding, R (2011). The Importance of Twitter to your social Media Marketing Strategy. Available at: http://www.socialtechnologyreview.com/articles/importancetwitter-your-social-media-marketing-strategy (Accessed 24 April 2017) WITHOUT AUTHOR •World Culture Theory (2001) Available at: http://sociology.emory.edu/faculty/globalization/theories03.html (Accessed 24 April 2017). •You Say You Want a Revolution? Records and Rebels 1966-1970. Available at: Victoria & Albert Museum, London 10/09/2016 - 26/02/2017 (Accessed: 24 January 2017). •Print is Dead? Not so Fast (2012) on Forbes. Available at: https://www.forbes.com/sites/thesba/2012/06/28/print-is-dead-not-so-fast/#487792674941 (Accessed 24 April 2017).

BIBLIOGRAPHY

WEBSITES/ARTICLES 1. Acosta, L. (2016) Zines: How the internet helped a printed outlet for outsiders and nerds thrive. Available at: http://www.independent.co.uk/life-style/zineshow-the-internet-helped-an-outlet-for-nerds-thrive-punk-riot-grrrl-diy-cultures-zine-fest-a7052411.html (Accessed 24 April 2017) 2. Alba, D (2016). You can now go live with Instagram stories. Available at: https://www.wired.com/2016/11/can-now-go-live-instagram-stories/ (Accessed 24 April 2017) 3. Allwood, E. (2016) Why are men obsessed with Supreme? Available at: http://www.dazeddigital.com/fashion/article/31919/1/supremacist-david-shapirowhy-are-men-obsessed-with-supreme (Accessed 18 January 2017) 4. Anderson, S. (2014) Why did grime never go right for women? Available at: https://noisey.vice.com/en_uk/article/why-did-grime-never-go-right-for-women (Accessed: 31 October 2016). 5. Anderson, S. (2016) These 7 women are pushing grime forward. Available at: http://www.thefader.com/2016/04/25/women-grime-radio-julie-adenugamadam-x (Accessed: 31 October 2016). 6. Arrigo, Y. (2017) Experience vs Things: What to do, Next? Available at: http://www.eventmagazine.co.uk/experience-vs-things-do-next/research/ article/1429012 (Accessed 24 April 2017) 7. Baker, D. (2015) 7 Brands With Print Magazines That Are Actually Awesome. Available at: https://contently.com/strategist/2015/07/20/7-brands-withprint-magazines-that-are-actually-awesome/ (Accessed 24 April 2017). 8. Barry, T. (2016) Grime girls: Interviewing the girls who love grime at rinse | born and bred festival. Available at: http://www.konbini.com/en/lifestyle/ grime-girls-festival-photo/ (Accessed: 31 October 2016). 9. Blue, E. (2011) How I Make These Zines. Available at: http://takingthelane.com/2011/12/23/how-i-make-these-zines/ (Accessed 24 April 2017) 10. Bromwich, K. (2016) The Observer: Grime: The Voice for a Generation (Accessed: 18 January 2017) 11. Cafolla, A. and Dazed (2016) What’s next for the UK grime scene? Available at: http://www.dazeddigital.com/music/article/31126/1/what-s-next-for-theuk-grime-scene (Accessed: 20 October 2016). 12. Churchill, M. (2015) Skepta & novelist on the relationship between the Nike air max & grime. Available at: http://www.highsnobiety.com/2015/03/31/airmax-uniform-ft-skepta-novelist/ (Accessed: 16 January 2017). 13. Cresswell, J. and Dazed (2016) Ewen Spencer’s new photos trace our subcultural evolution. Available at: http://www.dazeddigital.com/photography/ article/33204/1/ewen-spencers-new-photos-trace-our-subcultural-evolution (Accessed: 28 October 2016). 14. Daly, R. (2016) Grime now has its own section on iTunes. Available at: http://www.nme.com/news/music/various-artists-5300-1193305 (Accessed: 27 October 2016). 15. Digital, D. (2011) Don’t call me urban: Simon Wheatley. Available at: http://www.dazeddigital.com/photography/article/10534/1/don-t-call-me-urbansimon-wheatley (Accessed: 27 October 2016). 16. Ekpoudom, A. (2014) Tales from the grime generation: Ghetts. Available at: http://www.clashmusic.com/features/tales-from-the-grime-generation-ghetts (Accessed: 31 October 2016). 17. Falusi, C. (2016) Don’t judge print: it’s not dead yet. Available at: http://www.thedrum.com/opinion/2016/07/08/dont-judge-print-its-not-dead-yet (Accessed 24 April 2017) 18. Fraser, T. (2012) I love grime - Spyro & Sian Anderson. Available at: http://www.clashmusic.com/features/i-love-grime-spyro-sian-anderson (Accessed: 31 October 2016). 19. Frello, B. (2012) Cultural Hybridity. Available at: http://onlinelibrary.wiley.com/doi/10.1002/9781405198431.wbeal0297/abstract (Accessed 24 April 2017) 20. Gordon, C. and Dazed (2016) Menswear label Noah is proving it’s punk to care. Available at: http://www.dazeddigital.com/fashion/article/33347/1/ brendon-babenzien-interview-noah-dover-street-market-punk-to-care (Accessed: 13 October 2016). 21. Graves, R. (2017) 10 UK Artists to Watch in 2017. Available at: http://www.okayafrica.com/audio/10-uk-artists-watch-2017/ (Accessed: 16 January 2017). 22. Gunn, T. (2016) 6 ways boy better know revolutionised grime. Available at: http://www.factmag.com/2016/03/15/how-boy-better-know-skepta-jmechanged-grime/ (Accessed: 31 October 2016). 23. Gush, C. (2016) This is grime: The new book exploring the most urgent british music subculture since punk | watch. Available at: https://i-d.vice.com/en_ us/article/this-is-grime-the-new-book-exploring-the-most-urgent-british-music-subculture-since-punk (Accessed: 18 October 2016). 24. Hall, J., Barbieri, L. and Dazed (2016) Celebrating the sound of London fashion week. Available at: http://www.dazeddigital.com/music/article/32931/1/ celebrating-the-sounds-of-london (Accessed: 19 October 2016). 25. Hewison, G. (2016) Grime is the new punk. Available at: http://www.concrete-online.co.uk/grime-new-punk/ (Accessed: 17 January 2017) 26. Hodges, T. (2015) A guide to grime fashion. Available at: http://www.highsnobiety.com/2015/06/03/grime-fashion/ (Accessed: 16 January 2017). 27. Honegan, L. (2016) 3 UK female artists to look out for 2016. Available at: https://leynnasimplywrites.wordpress.com/2016/03/05/3-uk-female-artists-tolook-out-for-2016/ (Accessed: 31 October 2016). 28. Jones, D. and Dazed (2015) Six female rappers you should be listening to right now. Available at: http://www.dazeddigital.com/music/article/25318/1/ five-female-rappers-you-should-be-listening-to-right-now (Accessed: 31 October 2016). 29. Jones, W. (2016) Interview: Photographer Simon Wheatley on the square documentary ‘Golden Boys’ and ‘don’t call me urban!’ Available at: http:// uk.complex.com/pop-culture/2016/05/interview-simon-wheatley-the-square-golden-boys/ (Accessed: 28 October 2016). 30. Kane, A. and Dazed (2016) Why Vicky Grout is London’s go-to grime photographer. Available at: http://www.dazeddigital.com/photography/ article/31964/1/why-vicky-grout-is-london-s-go-to-grime-photographer (Accessed: 19 October 2016). 31. Khayyer, J. (2016) Lotta Volkova: ‘There are no Subcultures anymore. It’s about the Remix.’ Available at: https://www.businessoffashion.com/articles/ creative-class/lotta-volkova-there-are-no-subcultures-remix-stylist-vetements-balenciaga (Accessed: 26 October 2016). 32. Lloyd, G. (2016) Rou Reynolds: ‘Grime is like the punk scene I grew up In’ - features - rock sound magazine. Available at: http://www.rocksound.tv/ features/read/rou-reynolds-grime-is-like-the-punk-scene-i-grew-up-in (Accessed: 16 January 2017). 33. McKenzie, F. (2016) How Grime Culture Is Smashing It For Brands. Available at: https://www.linkedin.com/pulse/how-grime-culture-smashing-brands-faronmckenzie (Accessed: 16 January 2017). 34. Nicolov, A. and Dazed (2016) The artists & DJs behind London’s instrumental grime night. Available at: http://www.dazeddigital.com/music/ article/30492/1/the-artists-djs-behind-london-s-instrumental-grime-night (Accessed: 23 October 2016). 89

35. NME Magazine (2016) The Revolution will Not be Televised Article (Accessed: 18 January 2017) 36. Okothobbo, V. (2016) Where’s the love for the women of grime? Available at: http://pitchfork.com/thepitch/1177-wheres-the-love-for-the-women-of-grime/ (Accessed: 31 October 2016). 37. Perry, F. (2016a) Playlists and interviews exploring British subculture: Crosa Rosa. Available at: https://www.fredperry.com/subculture/playlist-profile-crosarosa-newpl (Accessed: 13 October 2016). 38. Revolting, C. (2016) Anarchy in the UK? The politics and people that produced punk rock. Available at: https://rs21.org.uk/2016/11/27/anarchy-in-the-ukthe-politics-and-people-that-produced-punk-rock/ (Accessed: 16 January 2017). 39. Shapiro, D. (2015) Life after supreme: Noah is the Streetwear brand that rejects conspicuous consumption | VICE | United Kingdom. Available at: http:// www.vice.com/en_uk/read/life-after-supreme-noah-is-the-streetwear-brand-that-rejects-conspicuous-consumption-456 (Accessed: 13 October 2016). 40. The square (group) (2016) in Wikipedia. Available at: https://en.wikipedia.org/wiki/The_Square_(group) (Accessed: 31 October 2016). 41. Trendell, A. (2016) Stormzy speaks out on being active, political and fighting racism. Available at: http://www.nme.com/news/music/ stormzy-0-23-1191556 (Accessed: 31 October 2016). 42. Swipe Magazine (July 2016) The Future of Grime: Where does Grime go next? (Accessed: 18 January 2017) 43. Swipe Magazine (July 2016) The Future of Grime: Key moments in Grime’s rise to the mainstream (Accessed: 18 January 2017) 44. Wheatley, S. (2010) Don’t call me urban - Info. Available at: http://www.dontcallmeurban.com/info.html (Accessed: 22 October 2016). 45. Wilding, R (2011). The Importance of Twitter to your social Media Marketing Strategy. Available at: http://www.socialtechnologyreview.com/articles/ importance-twitter-your-social-media-marketing-strategy (Accessed 24 April 2017) 46. Wolfson, S. (2016) Boy better know at wireless review – grime breaks through the festival headline barrier. Available at: https://www.theguardian.com/ music/2016/jul/11/boy-better-know-at-wireless-review-grime-pharrell-skepta (Accessed: 28 October 2016). WITHOUT AUTHOR 1. History of the punk subculture (2017) in Wikipedia. Available at: https://en.wikipedia.org/wiki/History_of_the_punk_subculture (Accessed: 16 January 2017). 2. Print is Dead? Not so Fast (2012) on Forbes. Available at: https://www.forbes.com/sites/thesba/2012/06/28/print-is-dead-not-so-fast/#487792674941 (Accessed 24 April 2017). 3. Return of the Grime Lords - Why Grime Never Died (no date) Available at: http://network-template.webflow.io/blog/the-return-of-the-grime-lords (Accessed: 16 January 2017). 4. Slake Magazine ‘About’ page (2017). Available at: https://slakemagazine.wordpress.com/about/ (Accessed 24 April 2017) 5. World Culture Theory (2001) Available at: http://sociology.emory.edu/faculty/globalization/theories03.html (Accessed 24 April 2017). PODCASTS/RADIO 1. BBC Radio 1 and 1Xtra’s Stories (2016) 10 Moments That Made Wiley. Available at: http://www.bbc.co.uk/programmes/b081m35p (Accessed: 5 January 2017) 2. i-D (2016) Does Subculture Still Exist? Podcast. Available at: https://soundcloud.com/i-d-online-1/do-subcultures-still-exist (Accessed: 15 October 2016). DOCUMENTARIES/VIDEOS 1. BBC (2016) The Story of Skinhead with Don Letts. Available at: http://www.bbc.co.uk/iplayer/episode/b07yv0qj/the-story-of-skinhead-with-donletts?suggid=b07yv0qj (Accessed: 15 October 2016). 2. BBC Radio 1 (2016) Beyond the music: Grime photography with Sian Anderson. Available at: https://www.youtube.com/watch?v=6sMmQCGxHBU (Accessed: 20 October 2016). 3. BBC Three (2016) A.Dot’s Story of Grime. Available at: http://www.bbc.co.uk/iplayer/episode/p04fj2t0/adots-story-of-grime (Accessed: 9 January 2017) 4. British GQ (2016) The business of grime: Full documentary I British GQ. Available at: https://www.youtube.com/watch?v=3_2AVogIb5c (Accessed: 20 October 2016). 5. Caleb Femi (2016) Heartbreak & Grime Documentary. Available at: https://www.youtube.com/watch?v=fk-1IEOGDBk (Accessed: 20 October 2016). 6. Channel 4 (2016) Pirate Mentality: Episode 1 - How Pirates Made Grime. Available at: http://www.channel4.com/programmes/pirate-mentality/ondemand/64569-001 (Accessed 17 January 2017) 7. Channel 4 (2016) Music Nation: Episode 1 – Open Mic. Available at: http://www.channel4.com/programmes/music-nation/on-demand/59730-001 (Accessed: 10 January 2017) 8. Ewen Spencer (2014) MUSIC NATION OPEN MIC FILM. Available at: https://www.youtube.com/watch?v=J85U6vBsRTc (Accessed: 23 October 2016). 9. keepinitgrimy (2015) JME - integrity (A KeepinItGrimy documentary). Available at: https://www.youtube.com/watch?v=eoc-Iz7OPoo (Accessed: 20 October 2016). 10. Noisey (2015) Skepta: Top boy (the documentary). Available at: https://www.youtube.com/watch?v=d6XIe8w57OQ (Accessed: 22 October 2016). BOOKS 1. Adamson, A.P. and Kirkpatrick, D. (2008) BrandDigital: Simple ways top brands succeed in the digital world. New York, N.Y: Palgrave Macmillan (Accessed 17 January 2017) 2. Collins, H. and Rose, O. (2016) This Is Grime. London: Hodder & Stoughton. 3. Dempsey, A. (2006) Destination art. London: Thames & Hudson. (Accessed: 4 January 2017) 4. Hancock, J. (2009) Brand/story: Ralph, Vera, Johnny, Billy, and other adventures in fashion branding. New York: Fairchild Books. (accessed: 17 January 2017) 5. Harrison, S. (2009) How To Do Better Creative Work. Gosport: Ashford Colour Press Ltd (Accessed 12 March 2017) 6. Ind, N. (2006) Beyond branding: How the new values of transparency and integrity are changing the world of brands. London: Kogan Page (Accessed 17 January 2017) 7. Polhemus, T (1994) Streetstyle: From sidewalk to catwalk. New York: Thames and Hudson (Accessed January 17 2017) 8. Posner, H. (2011) Marketing Fashion. London: Lawrence King Publishing Ltd. (Accesed 11 March 2017) 90

9. Prestel. 10. 11. 12. 13.

Rubin, D.S. (1995) It’s only rock and roll: Rock and roll currents in contemporary art: [in conjunction with the exhibition “it’s only rock and roll”]. Munich: (Accessed: 4 January 2017) Vogel, S. (2007) Streetwear: The Insider’s guide. London: Thames and Hudson (Accessed 17 January 2017) Waterhouse, J. and Penhallow, D. (2005) Concrete to canvas: Skateboarders’ art. London: Laurence King Publishing. (Accessed 4 January 2017) Werenskiold, Marit (1984) The Concept of Expressionism: Origin and Metamorphoses. Norway: John Grieg, Bergen. (Accessed 4 January 2017) Wheatley, S. (2010) Don’t Call Me Urban. Newcastle Upon Tyne: Northumbria University Press (Accessed 16 January 2017)

JOURNALS WGSN Organic Brights Board. Available at: https://www.wgsn.com/content/board_viewer/#/64242/page/7 (Accessed 25 April 2017) WGSN Print & Graphics: Downtown Beats Board. Available at: https://www.wgsn.com/content/board_viewer/#/71917/page/3 WGSN (Accessed 25 April 2017) WGSN States Of Mind Board. Available at: https://www.wgsn.com/content/board_viewer/#/65776/page/2 (Accessed 25 April 2017)

IMAGE REFERENCES

Fig.1: Events collage, Drinkeld. E 2017 Fig.2 & 3: Scanner bed, Drinkeld.E 2017 Fig.4: Grime rave, Wheatley.S, 2016. Available at: [http://www.londonmusichall.co.uk/meet-the-two-kids-putting-the-fire-back-into-grime-photography/] Fig.5: Hooded MC, Wheatley, S. 2016. Available at: [http://www.londonmusichall.co.uk/meet-the-two-kids-putting-the-fire-back-into-grime-photography/] Fig.8: Early Dizzee, Weatley, S. 2004. Available at [https://axischemicals.wordpress.com/2016/02/03/brooklyn-anthem-team-shadetek-featuring-jah-dan-and77klash/] Fig.9: Black and white slam, 2004. Available at: [http://www.thefader.com/2016/03/07/eskimo-dance-wiley-skepta-chip] Fig.10: WHQ Raver, Drinkeld.E 2017 Fig.11: Punk zines on a scanner bed, 1978-1982, Drinkeld.E Fig.12: 3D White Waves, Drinkeld.E 2017 Fig.13: White Waves Style, Drinkeld.E 2017 Fig.14: Illustration and collage, Drinkeld.E 2017 Fig.15: Mura Masa by Yoni Lappin video still, 2016. Available at: [http://yonilappin.com/portfolio/mura-masa-loveick-ft-aap-rocky] Fig.16: Alienation of youth scanner bed, Drinkeld.E 2017 Fig.17: Glitched text, 2017. Available at: [https://www.behance.net] Fig.18: Foreman’s bar in fisheye, Drinkeld.E 2017 Fig.19: Common ground collage, Drinkeld.E 2017 Fig.20: 3D Raver, Drinkeld.E 2017 Fig.21: Boredom quote on scanner bed, Drinkeld.E 2017 Fig.22: Working class angst collage, Drinkeld.E 2017 Fig.23: Me In The Shower, Wolfgang Tillmans, 1990. Available at [http://www.artlinked.com/Object/15758/Wolfgang-Tillmans-Me-in-the-shower-1990] Fig.24: Line illustration, Drinkeld.E 2017 Fig.25: Youthquake quote on scanner bed, Drinkeld.E 2017 Fig.26: Brandaholics, Drinkeld.E 2017 Fig.27: ‘Wag1?’ collage, Drinkeld.E 2017 Fig.28: Primary imagery collage, Drinkeld.E 2017 Fig.29: 3D Nova twins collage, Drinkeld.E 2017 Fig.30: Digital influx edit, Drinkeld.E 2017 Fig.31: Grimes Album artwork, 2016. Available at [http://www.grimesmusic.com] Fig.32: Grime art, 2015. Available at: [http://desolateputoface.tumblr.com] Fig.33: Banksy artwork, 2017. Available at: [http://voxpoliticalonline.com/2015/04/16/banksy-weighs-in-on-ukip/] Fig.34: Reuben Dangoor’s Holy Trainerty II, 2016. Available at: [I http://www.reubendangoor.com] Fig.35: Skepta scanner bed collage, Drinkeld. E 2017 Fig.36: Scanner bed Skepta, Drinkeld.E 2017 Fig.37: Tokyo Rock’n’Roll Bar, Drinkeld.E 2017 Fig.38: Secret Cinema quote on scanner bed, Drinkeld.E 2017 Fig.39: Experiential festival, 2016. Available at: [http://www.eavesopticians.co.uk/blog/to-all-you-festival-go-ers/] Fig.40: QR Code quote on scanner bed, Drinkeld.E 2017 Fig.41: Airbnb logo, 2017. Available at: [https://www.airbnb.co.uk] Fig.42: Pineapple magazine, 2016. Available at: [Available at: [http://www.itsnicethat.com/articles/airbnb-pineapple] Fig.43: Pineapple magazine spread, 2016. Available at: [http://www.itsnicethat.com/articles/airbnb-pineapple] Fig.44: Pineapple content on scanner bed, 2017. Available at: [http://www.itsnicethat.com/articles/airbnb-pineapple] Fig.45: Legitimacy in print quote on scanner bed, Drinkeld.E 2017 Fig.46: Sketchbook scan and digital collage, Drinkeld.E 2017 Fig.47: Physicality quote on scanner bed, Drinkeld.E 2017 Fig.48: Primary imagery and illustration, Drinkeld.E 2017 Fig.49: SWOT Analysis, Drinkeld.E 2017 Fig.50: The Big Idea W’s, Drinkeld.E 2017 Fig.51: The Consumer on scanner bed, Drinkeld.E 2017 Fig.52: Shift in audience quote on scanner bed, Drinkeld.E 2017 Fig.53: Diffusion of innovation, Drinkeld.E 2017 Fig.54: Nadia Rose on scanner bed, Drinkeld.E 2017 Fig.55: Inked Nostalgics consumer collage, Drinkeld.E 2017 Fig.56: Inked Nostalgics Questionnaire on scanner bed, Drinkeld.E 2017 Fig.57: Instagram Consumer, Drinkeld.E 2017 Fig.58: New Wave Authentics consumer collage, Drinkeld.E 2017 Fig.59: New Wave Authentics consumer questionnaire, Drinkeld.E 2017 Fig.60: Instagram Consumer, Drinkeld.E 2017 Fig.61: Creative concept on scanner bed, Drinkeld.E 2017 Fig.62: Logo introduction, Drinkeld.E 2017 Fig.63: Brand Essence Model, Drinkeld.E 2017 Fig.64: Competitor analysis collage on scanner bed, Drinkeld.E 2017 Fig.65: Digital and Print quote collage, Drinkeld.E 2017 Fig.66: Brand perceptual map, Drinkeld.E 2017 92

Fig.67: Colour palette, Drinkeld.E 2017 Fig.68: Brand Sticker, Drinkeld.E 2017 Fig.69: Logo variations, Drinkeld.E 2017 Fig.70: Sniffinâ&#x20AC;&#x2122; Glue Zine, 1976. Available at: [www.vicgodard.co.uk] Fig.71: Zine Tone of Voice moodboard, Drinkeld.E 2017 Fig.72: Zine Illustration & Image moodboard, Drinkeld.E 2017 Fig.73: Events Timeline, Drinkeld.E 2017 Fig.74: Route to consumer on scanner bed, Drinkeld.E 2017 Fig.75: London posters mock-up, Drinkeld.E 2017 Fig.76: Risographed Flyers, mock-up, Drinkeld.E 2017 Fig.77: Spotify advertisement mock-up, Drinkeld. E 2017 Fig.78: Instagram story mock-up, Drinkeld.E 2017 Fig.79: Instagram post & tone of voice, Drinkeld. E 2017 Fig.80: Lyric poster mock-up, Drinkeld.E 2017 Fig.81: Guerrilla-style posters, Drinkeld.E 2017 Fig.82: Instagram collaboration reveal, Drinkeld.E 2017 Fig.83: Website countdown page, Drinkeld.E 2017 Fig.84: Instagram Live Story mock-up, Drinkeld.E 2017 Fig.85: Twitter tone of voice mock-up, Drinkeld.E 2017 Fig.86: Spotify playlist mock-up, Drinkeld.E 2017 Fig.87: Website mock-up with consumer imagery, Drinkeld.E 2017 Fig.88: Loyalty loop, Drinkeld.E 2017 Fig.89: Consumer journey, Drinkeld.E 2017 Fig.90: Kickstarter brand imagery, 2017. Available at [https://www.kickstarter.com] Fig.91: Conclusion collage, Drinkeld.E 2017

APPENDIX 096 1.1 METHODOLOGY TABLE 102 1.2 CULTURAL CALENDAR 103 1.3 CARTOGRAM 103 1.4 CRITICAL PATH 106 1.5 RECORD SHEETS 108 CASE STUDIES 2.1 General: 2.1a Streetwear 2.1b Globalisation 2.1c Offline to Online 2.1d Print is not Dead 2.1e White Waves Brand Study 113

116

118

2.2 Primary Insights: 2.2a White Waves 2.2b Nova Twins 2.2c Nadia Rose 2.3 Artists: 2.3a Intro 2.3b Rueben Dangoor 2.3c Grime Art 2.3d Grimes Album Artwork 2.4 Competitors: 2.4a Stack 2.4b VNA 2.4c Beautiful/Decay 2.4d Slake 2.4e Crack 2.4f NME 2.4g MOJO 2.4h DJ Mag 2.4i NoMag/Slash

156 SKETCHBOOK PAGES 125 INTERVIEWS (including consent) 7.1 Brand development, inc. what we 3.1 Eurie, Niketown Sales Assistant are/what we’re not 3.2 Fraser Robinson, Strawberries and 7.2 WGSN colour trends Creem Festival 7.3 Consumer development pages 3.3 Jason Whittle, Owner of Foreman’s 7.4 Key aesthetics Bar Nottingham 3.4 Amy Love & Georgia South, Nova Twins 3.5 Chris Harrison, END. Sales Assistant 3.6 Adam Harper, Musicologist at Oxford University 3.7 Ashleigh Kane, Arts & Culture Editor at Dazed 141 FURTHER RESEARCH 4.1 FutureLab Trend Talk2016 4.2 Marguerite Humeau Nottingham Contemporary Exhibition 4.3 Records & Rebels exhibition, V&A Museum London 4.4 David Bowie Exhibition, Tokyo 145 CONSUMER 5.1 Interview with Antony May 5.2 Interview with Kirsten Knaggs 147 BIG IDEA DEVELOPMENT 6.1 Overall Brainstorm 6.2 The W’s 6.3 Key Words 6.4 Free Writing 6.5 Rephrasing Key Phrases 6.6a Group Brainstorm 6.6b Single Brainstorm 6.7 Random Word Generation 6.8 Picking 3 Ideas 6.8a Oblique Cards for each 6.8b SWOT & PEST analysis of each 6.9 Digital Vs Physical Landscape

METHODOLOGY TABLE

100

101

CULTURAL CALENDAR

102

CARTOGRAM & KEY INSIGHTS

Key innovators of my cartogram include the Godfather of Grime Wiley, Political motivators such as Brexit and Trump and newfangled musical genres from Grimes and the Nova Twins. Trend Drivers include streetwear brands such as Supreme, Lotta Volkova who insists that now it is â&#x20AC;&#x153;about the Subcultural Remixâ&#x20AC;?, and WGSN who adopt visual trends such as Youth Tonic, with bright palettes and a focus on textural attributes. Consequences include a more experiental take on executions, such as the likes of Strawberries and Creem Grime festival, and Trend Future leads to visual-first forms of communication, a bricolage society, and multi-channel executions involving both 103 the physical and digital world.

CRITICAL PATH

104

105

TUTORIAL RECORD SHEETS

106

107

CASE STUDIES STREETWEAR What is it? The notion that ‘streetwear is at the core of an intensely independent urban subculture’ is derived from the idea that a community is born out of the gathering and ‘constant alienation and frustration felt mainly by inner city kids, not just in New York but worldwide. A community was formed that was influenced by skateboarding, punk, hardcore reggae, hip hop, an emerging club culture, graffiti, travel and the art scene in downtown city centre areas’ (Vogel, S. 2007). This reinforces the idea of subcultural movements being born of the same thing, but also shows the true sense of community and comradeship which can be born from the development of a certain ‘uniform’. The association of Nike and their Air Max 110’s, for example, was a key indicator that you were to be respected and were a key part of the Grime world. This can again be related to Reuben Dangoor and his ‘Holy Trainerty’ works – emphasising the importance of essential uniform in becoming a credible name. Uniqueness ‘To adopt the look of a particular styletribe is to put oneself on the firing line. But if such stylistic commitment brings a sense of group solidarity and comradeship, then, for many, it is worth it.’ (Polhemus, T. 1994) What can I take from it? The sense of community amongst streetwear advocates was emphasised by Omar Quiambao, founder of the streetwear brand when asked, what he loved most about streetwear, stating “meeting new people, exchanging ideas and learning new perspectives”. After all, it is this unification and coming together of people which creates and spurs subculture on.

GLOBALISATION What is it? Globalisation is the interconnectedness of our society today. It is now easier than ever to travel across the world, and more and more people are choosing to. This therefore results in cultural differentialism; resulting in different cultures becoming intermixed and therefore multi-faith, multi-cultural societies. It is the exact parallel of this which is the cause of subtribes and the de-differentiation of culture overall. This therefore results in the credibility of various subcults being overlooked and downplayed by society because of hybridisation. What does this mean? As subculture is becoming harder to define, the notion of its existence and theory that it is now outdated comes to the fore. As Derek Ridgers expressed, “If a couple of beatniks or teddy boys walked up here now, I’d be able to recognise them. If there were grime fans wandering down, I’d never know it” (Derek Ridgers, i-D Podcast, 2016). However, when looked at close enough it is easy to see the established uniform for subcults such as Grime. Therefore, we can summarise that subcultures do in fact still exist today, however in the now large and vast pool of different styles created through globalization we must look harder in order to find them. 108

FROM OFFLINE TO ONLINE: MISSGUIDED What is it? A multi-channel approach is fast becoming the way to a consumer’s heart. “Omni-channel retail is quickly taking on new meaning. It’s no longer only about traditional retailers creating an online presence to satisfy shoppers’ demands for “anytime, anywhere, anyhow”’ (Liebmann, 2013). They are now turning their attention away from this and towards consumer touchpoints – thus ensuring that they are interrupting their consumer throughout the marketing process to force them to stop and turn towards their brand. A stronger focus on experiential media means that ‘consumer spending data for the final quarter of 2016 showed a growth in pubs, restaurants and entertainment compared to High Street clothing, widely attributed to the trend associated with millennial shoppers (Arrigo, Y. 2017)’. These consumers are no longer buying into a ‘thing’, but rather a lifestyle. This shift could also be attributed to online phantasmagoria, whereby this generation are buying into a dream-like, idealistic lifestyle portrayed by the insta-famous, young & rich icons of today such as the likes of Kylie Jenner. Who is it? Missguided have recently made the shift from only being online to becoming a digital and physical brand. After opening their first store in Westfield, it has been described as “everything you would expect it to be; brash, loud, pink and totally Instagrammable – perfect for its young audience”, which in turn “helped the brand increase it sales by 60% last year alone” (Newport, G. 2017). The USP Coming from an online world means that Missguided could quickly identify and target their consumer across social media. They could directly impact online bloggers, Instagram influencers and role models for their consumer with an already-established tone of voice and brand identity – something which they would have struggled to achieve through one stand-alone physical store. Their outreach was therefore on a greater scale, and their online status gave them a sense of credibility which would have otherwise been unachievable. Translating this from online to offline rather than vice versa therefore means that this consumer is already more likely to visit simply for the fact to say that they’ve been and to comment on it online. Strengths By opening physical stores, Missguided have tackled the consumer directly – they are leading the consumer as opposed to the consumer leading them. Creating a physical space for the consumer to enter means that their brand has become much more experiential, and is literally involving their consumer as opposed to being a separate entity. This in turn means that consumers are more loyal to the brand, as they feel connected in a deeper sense and involved in the brand itself. Weakness The only weakness in this method of opening online first and then offline so far is that they aren’t available nationwide and currently only have two stores – however this is made up for in the fact that their clothing is still available through the site, and could even work in the brand’s favour as travelling to visit a store shows true brand loyalty by the consumer, is an experience in itself and is something which this consumer is likely to post about online. What can I take from it? The fact that ‘55% of millennials claimed to be spending more on events and live experiences than ever before (Arrigo, Y. 2017)’ is something not just subject to Millennials alone. Creating memories alongside a digitally-recreated image online means that within today’s society, brand essence is everything. Creating an offline space with the same qualities of an online presence allows an individual to become fully immersed within the brand, and therefore they will quickly establish brand loyalty and identify with it on a deeper level. It is for this reason that Licker will mainly be identified online, with the final execution being completely physical. 109

PRINT IS NOT DEAD: PINEAPPLE MAGAZINE BY AIRBNB What is it? Pineapple is a magazine made by the brand Airbnb, and is said to be a “crossroad of travel and anthropology; a document of community, belonging and shared space” (Baker, D. 2015). It’s sole aim is to create a sense community within the brand, which is only enhanced by the fact that it is completely ad-free; pulling complete focus onto Airbnb itself. The USP No other in-flight magazine has been as successful or engaging Strengths Pineapple establishes the brand tone and identity of Airbnb without outrightly saying so. Looking at their website, they describe themselves as a ‘trusted community marketplace for people to list, discover, and book unique accommodation around the world — online or from a mobile phone or tablet’ (Airbnb website, 2017). The magazine gives the reader a tactile, physical part of the brand to take away with them and display, thus becoming a part of their homes and entering their personal space as well as being completely transportable and accessible - much like the website itself. Their sense of community will only be encouraged by the digital connections made through this physical marketing. As well as this, the fact that it is so aesthetically pleasing means that it works as a ‘kind of coffee table centerpiece, a tangible piece of travel-oriented storytelling that makes staying at an Airbnb a bit more of a branded experience than simply using the app to crash at someone’s house’ (Baker, D. 2015). Weakness So far, there has only been one issue of the quarterly magazine released so far. This therefore makes it hard to judge just how successful the magazine is or will be in its interconnectedness. What can I take from it? the fact that online retailers from different spheres such as travel are looking at print as the answer to their problems in today’s digital world, suggests that it is a solution in itself.

110

111

WHITE WAVES BRAND STUDY What is it? ‘Waves Party is London’s exclusive one off party nights, featuring some of the freshest DJ talents, blending the very best in Hip Hop, R&B, Trap, Grime & Dancehall.’ (Boxpark, Shoreditch website 2017). Originally a fashion brand, White Waves has expanded into launching and holding their own events across the capital. Contributing to the comeback of Grime, White Waves events are often free or have a pretty low price tag to attract the type of community who are really interested in the genre and seek out events which are completely oneoff and have that organic, old school vibe. Why them? Pricing their events cheaply or completely free means that they are an ideal brand for Licker’s first monthly collaboration. This means that less money will have to be funded through the kickstarter campaign, and more emphasis can be thrown on tackling marketing and getting the initial word out about the brand. As well as this, consumers are still buying into a completely authentic and raw event. In addition, the fact that the only other tickets will be sold to individuals who have actively sought out the event means that they will be surrounded by the people who are hinted at within the zine; they will get a completely authentic, realistic taste of the genre without breaking the bank in Licker’s first issue. What can Licker and White Waves take from the collaboration? A fully immersive, lively event is promised through the collaboration with White Waves. First-hand experience of the event in January meant that I was able to gage a real feeling for the event and the type of music which is played. This combined with the distinctive consumers who were attracted to the event means that it is closest to an authentic MC battle as possible without breaking the bank. As for White Waves, they are a fairly small events company which mainly profit off their small clothing line. Their brand is not very well known as of yet, with only 282 followers on their events Instagram page and 1034 on their primary brand and fashion Instagram account. This collaboration will not only get the word out about the events which White Waves hold, but will also attract the type of custom which aligns with their brand values in the first place.

112

PRIMARY INSIGHTS WHITE WAVES The White Waves event which I attended in Boxpark, Shoreditch was what first exposed me fully to the Grime scene and its live events. The sheer emotion and raw connection which individuals had with lyrics and bars of the tracks played was both inspirational and almost unexplainable. A small events company based off a slightly larger fashion brand, White Waves is a U.K based events brand which specialises in the likes of Grime, R&B and Dancehall. (see previous appendix page) Strengths Although I did not expect to be using this event as an execution at the time, White Waves was something which was completely invigorative and gave me a fresh perspective of the scene. After reading books such as the likes of Don’t Call Me Urban! By Simon Wheatley which really explore the origins of Grime and the harsh realities of the subculture, I found the event so refreshing and completely unlike anything which I’d attended before. Individual groups of friends slowly merged together, connecting through the powerful lyrics of songs played, and a couple even volunteered to MC. It was an environment wherein age didn’t seem to matter, nor appearance. There was definitely an overall vibe to the event – most were in streetwear, had hoods up or were sporting the ‘White Waves’ merchandise in the form of snapbacks, but other than that everyone was connected by one thing - the music. I originally just went along to the event to try and get some photos of what was happening as a whole, but ended up getting close profile shots of individuals who even played up to the camera and sang the lyrics alongside me. Being a younger, white female meant that I definitely wasn’t your stereotypical consumer of the brand nor the grime genre itself, yet everyone seemed to welcome me with open arms. It was this event which first established the true sense of commitment to the genre and community within it, which was then solidified through my interviews with Ashleigh Kane, Social and Cultural editor at Dazed, and founder of Strawberries and Creem Grime festival Fraser Robinson. Weakness Weaknesses of the brand include its image and tone of voice. While the logo is simplistic and therefore mimics the likes of Supreme or Palace (brands which the consumer would already be aware of and possibly buy into themselves), they have not established themselves widely enough to be recognised. Their logo may work well on brand merchandise however has little meaning and is fairly vague in terms of the consumer actually buying into the brand. As well as this, through their Instagram account for their ‘sister brand’ of the Waves events, they do not establish a tone of voice which is clear and consistent. This is their main form of advertisement, however they do not use it effectively as they only post in bulk a few times a month, with their content consisting mainly of photos of individuals at the event or quick promo posts. What can I take from it? By collaborating with White Waves, Licker will clearly benefit from their already established custom however the White Waves brand will also profit. This is because Licker will attract the type of custom which White Waves wants to achieve, through an established brand voice across all social platforms paired with the brand imagery itself. White Waves is currently of a smaller social standing, much like Licker, and is therefore more likely to engage in the collaboration than larger events or clubs such as Visions bar in London. After initial communication with the brand however, they did not get back to me on their own opinions.

113

NOVA TWINS Interviewing the Nova Twins as well as seeing them perform live was different to anything which Iâ&#x20AC;&#x2122;d experienced before. Their mashup of two genres was both engaging yet fascinating, as the creativity and musical ability of the pair was unquestionable. The fact that they were so happy to talk about being involved in and open to different musical genres, proved to me the true mix of subculture in modern society and re-established the fact that in such an amalgamated culture what is to stop the youth of today from creating their own sound entirely? Much like the White Waves event, many of the attendees of the event were of a variety of ages and backgrounds, reigning true to the fact that their music is a mixture of current Grime and 70â&#x20AC;&#x2122;s Punk. This again did not seem to faze anyone at the event, and the fact that individuals of completely different lifestyles can be so connected through music was still astounding to me. Their sound makes the Nova Twins completely unique and unlike anything Iâ&#x20AC;&#x2122;ve ever heard before, and has a real possibility of hitting mainstream and becoming a subculture within itself. What can I take from it? This event established my idea of the remix of subculture today, and how two completely different entities on either ends of the musical spectrum can be combined to create something spectacular. This really brought home the fact that there are endless amounts of subcults and style tribes emerging today, making the idea of Licker more palpable than ever, as subculture is a notion which people never seem to tire of or become unaware of.

114

NADIA ROSE Directly following on from a male MC, Nadia Rose was an experience which I remember as being all-inclusive and surprisingly fairly feminist. This being the last of the three events, I had prepared myself for a mainly black, young male crowd, but I was in fact greeted by a mainly female audience. Nadia Roseâ&#x20AC;&#x2122;s lyrics are often not as politically-aggrevated as the likes of JME or Wiley, and instead â&#x20AC;&#x201C; naturally â&#x20AC;&#x201C; have much more of a female focus. This could in some minds suggest that a female perspective on Grime is one which should not be taken as seriously, however the crowd at this event definitely proved that notion otherwise and proved that there is most certainly a strong, female presence in Grime. What can I take from it? This only goes to show the participation of individuals of all ages, genders and backgrounds within the scene. It is a subculture of true unification and through its growth over the years, Grime has become established within the musical undergrowth of society. Through Nadia Rose becoming more established in the mainstream Grime world, alongside the likes of Ghetts and AJ Tracey and appearing as the track for advertisements such as Rimmel London, means that she is becoming more credited in the landscape and therefore, so are female fans of Grime.

115

ARTISTS INTRODUCTION Artists emerging from visual youth platforms such as Instagram and tumblr are also a reflection of this, as they rise to fame as a direct result of other young people identifying with their work. Reuben Dangoor is one of the first to experiment with his own style of grime art, reimagining key figures of the Grime scene in historical paintings and being featured in the Tate Britain as a result. There is also already a genre of art called ‘Grime art’, named not after the music genre but linked directly to it’s anti-commercial, brazen and unapologetic feel; characteristics of which are all shared with the music genre. In a similar way the art created by musician Grimes is also somewhat unorthodox and curious, reflecting the weird and wonderful outcomes music can have on the artistic mind. ‘According to Marco Livingstone, Peter Blake’s primary objective in his early Pop works was “to produce an art whose meanings would be as accessible and direct as that of popular music and other expressions of mass culture.” Blake himself commented in 1963, “I like to think my pictures can be enjoyed by young people who like Pop music.”’ (Rubin, D.S. 1995), reinstating the possibility that Grime as a movement and counterculture is going to affect artistic movements. From this, we can begin to develop links in trend between different sectors. For example, Banksy is an already established political artist globally; silently making loud comments on the happenings of the western world and consumerism. This is therefore directly linked to the social happenings which we are experiencing, and of which Grime is already partly a reaction to.

RUEBEN DANGOOR What is it? Rueben Dangoor is a contemporary British artist, who re-imagines figures in British music in a different light. Recently, he has painted Amy Winehouse in his classic, mural-like painting style, however his most noticeable works are ‘Legends of the Scene’ whereby he depicts Grime legends such as Kano and Skepta in a 17thcentury style, and the Holy Trainerty, in which he takes the most crucial shoes on the Grime scene and re-imagines them as a glorified historical piece. The USP There is currently nothing else like it in the art world. At the moment, there is no art stemming directly from the Grime scene other than his. Has the potential to create something completely original, and establish the movement of Grime outside of the musical sphere. Weakness At this moment, Dangoor isn’t very well known especially outside of the artist community, however his credibility will come with the ever growing uprise of Grime. What can I take from it? If we use past artistic movements as a template, Reuben Dangoor can be seen as the Andy Warhol for this generation if Grime continues to grow in this way. Just as previous artworks have grown out of the likes of Rock’n’Roll and punk, Dangoor is paving the way for fans and listeners to the Grime genre to express themselves through art. After all, the artist doesn’t necessarily have to like the genre but simply provide a reaction to it.

116

GRIME ART What is it? It’s been described as the ‘anti-selfie’, and is the reaction to a digitally-driven youth. Evolving from Tumblr and becoming somewhat of a craze, Grime Art embodies everything which a selfie is not meant to be. Its grunge-like, DIY appearance embodies some of the characteristics of Grime, while the two are identical in name. It is made to de-face and disfigure the idealized version of beauty in modern society, and almost acts as a digital mask. The USP Grime Art is something completely different to any digital art previously seen. It picks up on characteristics of classic street art, and combines this with the idea of the digital age having the power to contour and reshape our perceptions of image. This once again relates back to the idea of phantasmagoria however as opposed to encouraging it Grime art is a step away from this, and a rejection of the digital world impacting on our physical world. Weakness Grime art could be short-lived and somewhat of a fad in the artistic world. Its roots in tumblr could mean that it is somewhat discredited or not taken seriously in the art world as an actual movement. As well as this, Grime art may already be connected to a different subculture, and its more colourful attributes may not identify with the overall Grime aesthetic. What can I take from it? How it has established its name, a direct link to the genre in this way, how young individuals are finding ways to promote their own artwork throughout the digital sphere, why this is important for Licker

GRIMES ALBUM ARTWORK Grimes, otherwise known as Claire Boucher, is a Canadian singer and songwriter. Her music is well known for being experimental, ‘avant-pop’ (i-D, 2015) and synthetic. Having previously illustrated her own album covers for the past three albums, this album artwork for Art Angels is her most recent work. Art Angels was released in November 2015, and has propelled her into the mainstream more than ever; her style of music not being Grime itself however identifying with it in many ways. Against the mainstream, made completely from DIY sounds and creating her own style – yet again defying mainstream music ideology and creating a genre completely specific to herself. What is it? This anime-style artwork reflects the individualism of Grimes’ music style in a visual format. She is taking the world of audio and transforming it into visual. Her style of artwork is also something completely original, being a blend and amalgamation of various inspirations and artistic styles. Again, this reflects her blended musical style, while reflecting the blurring of subculture and sounds in modern society. What can I take from it? With a focus through an artistic lense, Grimes is paving the way for artists to become more creative in their own style and create something entirely new. She is inspiring people to break through boundaries and not be afraid to blend styles together. She is also doing this musically, through simply taking what she likes to hear and blending the styles together. It is this type of fearlessness which can be seen in musicians such as the Nova Twins, and which reflects our integrated society. In the same way, Grime is entering the mainstream in ways which it has never done so before. Individuals are no longer attracted to one musical style, and the mixup of genres could be said to be a main reason for Grime sparking up in the mainstream again.

117

COMPETITOR ANALYSIS STACK What is it? Stack is a subscription service, making independent magazines readily available for those who may not necessarily know how. They are a monthly subscription service which offers a different independent magazine monthly, delivered to your door and at a lower price than usual. The USP The reader receives a sporadically random issue of a magazine, the previous issue being entirely disconnected from the next. This means that with minimal effort, they receive an entirely new publication every month and delve further into the world of independent print. As well as this, the service is completely open to anyone of any age. This means that the target consumer for Stack is broad, however not necessarily a bad thing as it is getting more and more people involved in the independent print world and the resurge of magazines. Stack is proof that Print is not dead. What can I take from it? In a similar fashion to Licker, the consumer for Stack is buying into an idea rather than an actual product, this idea stemming from a love of independent print. As my research has shown, more and more people are starting to buy into experiences as opposed to objects. As a response to this trend, Licker therefore provides an experience, and the fact that it is posted through your door is one in itself. This element of surprise has inspired Licker in the way that each issue is based on an entirely different subculture and the reader buys into the product for their love of events and subcultural happenings, with no idea of what the next issue will include other than the hints left through the marketing timeline.

VNA

What is it? Very Nearly Almost is an independent magazine focusing on urban photographers, illustrators and artists. It includes interviews with up and coming artists on a variety of different scenes. They develop a type of community based around their love and passion for art. The USP Focusing entirely on art, Vna offers an extremely specified outlook on art and different artistic worlds. Vna follows stories of key figures in certain scenes, and also explores the world around a particular artistic style. They also have a key distinctive style across social media, and the tone of their brand voice is edgy, ageless and entirely design-based. What can I take from it? In a similar way, Licker aims to connect individuals with a love and interest in subculture, live events and music through delving into lifestyle and not solely music alone. As the brand and publication develop credibility within the industry, the capacity to collaborate with bigger events and interview more established individuals will grow, much like the likes of Vna. Exploring the subcultural world around music will be similar to Vna exploring the world around particular artistic styles. In addition, the tone of Licker and my brand voice will be extremely evident throughout social platforms, using Instagram as a key visual indicator as to the vibe of the brand.

118

BEAUTIFUL/DECAY What is it? In 1996, Beautiful/Decay was established as a ‘small black and white, DIY photocopied zine’ (Beautiful/Decay, 2017) and has since grown into a fullcolour magazine, eventually translating into a digital blog whereby most of the content is created. With a focus on art and design, Beautiful/Decay gives to its reader striking full-bleed imagery and well curated pages. The USP The history of Beautiful/Decay is what makes this magazine so interesting. The fact that an independent publication is still doing so well after over 20 years is a credit to the contents of the magazine, and is a celebration of how artwork is a concept which never gets old. The origins of the magazine originally being a zine, published after those of the 1960s and 1970s, can show that creativeminded individuals are constantly looking for new form of print media and artistic outlets. What can I take from it? Similarly to Licker, Beautiful/Decay’s origins lie within the zine-making industry. The magazine is in some ways directly opposite to Licker, as it has travelled from offline to online, and Licker is concentrated on travelling from online to offline. Although the digital side of the marketing for Licker is extremely important in terms of consumer needs and interests, the physicality of the zine is what makes it original and contains the focus of moving away from the digital sphere. This aspect of the zine which sits alongside the live event is something which according to current trend is more important and relevant than ever, and is a key selling point of the brand. Beautiful/Decay’s main focus is producing online content, however their social media is somewhat lacking for such a visual publication. There is no direct Instagram account, only links to Twitter and Facebook. While both platforms are important in establishing a written tone of voice for the brand and work well for promotion, Instagram would be more beneficial in terms of gaining new readership and showing what the reader can expect for the content of the Beautiful/Decay site.

119

SLAKE What is it? Slake is an ‘online platform for Arts and Culture’ and has a sole purpose of providing a ‘platform to showcase and promote the work of emerging artists and arts organisations’ (Slake, March 2017). It focuses on profiled essays, memoirs and fiction, and is a ‘literary magazine with focus on the printed word and page’ (complex, 2013). Their focus on the raw and authentic medium of print is what first attracted me to the magazine, as their determination to have a focus on the fundamentals of print is a characteristic that I wanted to mimic within Licker. The USP Their strong focus on intense narrative journalism and literary power is what makes Slake unique. This accompanied by their strong visual image and zine-like attention to detail creates a publication which may have been first published in 2010 however feels as though it has been around for decades. What can I take from it? Similarly to Licker, they want to provide some kind of platform. Licker also does this as there is no current publication which is paired with an event to both raise awareness of subculture and encourage individuals to engage in it. However once again Licker is different to Slake in the fact that other than marketing it is based mainly offline, as well as being connected to different events monthly. Their focus on getting back to the basics of print is also a characteristic which I want to recreate within the fundamental brand characteristics of Licker.

120

CRACK What is it? Being an established publication for the past 7 years, Crack magazine is completely dedicated to the music industry. They have different versions for each issue, for London, Bristol, Cardiff and Manchester, and have recently expanded to Berlin. The USP Crack is tailor-made to each place it is published. This means that buyers of the magazine feel as though it has been made specifically with them in mind, and is in some ways a form of personalisation. As well as making the magazine more widespread, this approach means that consumers will feel much more connected to the print media. As well as this, key visual motivators such as Instagram are used extremely effectively, through providing key imagery used as a teaser to the contents of the publication, and connecting with the consumer by using their tone of voice. What can I take from it? They focus entirely on the printed media, and everything else supports the magazine. In the same way, Licker will throw the same amount of emphasis on the actual magazine itself once it is launched, and a move away from the digital age. ‘“For everyone who works here, the print magazine is where the passion is. Once it’s out there you can’t correct a mistake like you can online, so a lot of effort goes into getting it right. And we release the magazine first, so I’d say print definitely leads for us.”’ (Stack Magazines website, 2015) Using Licker as an avenue for social media, printed media and events means that is completely omni-channel and multi-media. In a similar way, Crack magazine own their own pub and are involved in the Simple Things festival in Bristol. In an interview with Stack magazines, Creative director Jake Applebee said ‘“well you’ve got your audience but what other avenues can you use that audience for?”’ (stack magazines website, 2017).

121

NME What is it? After once being established as one of the top dogs within the music publication business, NME has became one of the worst. Now free, NME distributes 300,000 copies after sales had declined to only 15,000 a week. The digitalization of music means that the crossover from print to online was too much for the NME to handle. NME depended on the latest news and insights into the world of rock and roll to keep their publication going, however now so many online resources and the production of music itself going from CDâ&#x20AC;&#x2122;s to online streaming means that the NME was rendered unneeded. What can I take from it? In order to keep Licker more relevant and to encourage it to fulfil a need within society, a stronger focus on the subculture itself will come into play. By focusing on all of the subcultural elements behind a music genre, as opposed to only the music alone, it will allow Licker to remain culturally relevant ind therefore interesting for a prolonged amount of time. This also means that the selling point of the magazine will not be the latest news in the music world, but rather what makes the genre sound the way it does.

MOJO What is it? Mojo magazine has been circulating for almost 50 years, and as one of the longest running music publications has also established itself as a digital platform. While they still drive focus onto the printed publication, a multi-media strategy means that the brand is still very much alive. What can I take from it? In contrast to Mojo, Licker is not intended for a particular age. While Mojo feels somewhat dated in its online presence and in the content within the magazine, Licker is intended more towards a mindset and attitude (see consumer profiles). This means that the brand image will always be consistent and seemingly fresh, delivering a more modern take on the Punk DIY ethic.

122

DJMAG What is it? DJMag was first published in 1991, and has become one of the most successful music publications in world having been awarded â&#x20AC;&#x2DC;Best Music Magazineâ&#x20AC;&#x2122; 17 times (DJMag website, 2017) â&#x20AC;&#x201C; more than any other music publication. As opposed to the demise of NME, DJMag has developed into a multi-media channel; seeing the rise of a digital age as an expansion of their brand rather than the end of it. What can I take from it? In order to appeal directly to the consumer, Licker has to be a multi-channel brand. Hitting consumer touchpoints at every given opportunity is extremely important to the growth of the brand and getting noticed in such an industry. We are no longer living in a world whereby print media will travel on its own; including a digital marketing plan is essential to the success of the zine however it is important to keep emphasis on the zine and event itself through digital means.

123

NOMAG/SLASH What is it? As well as analysing current competitors, I also wanted to consider the key inspirations behind Licker from the 1960s and 1970s zines such as No Mag and Slash. Both zines had a distinct visual tone, as emphasis was entirely on the printed media and had no digital support. The contents of both of the magazines have a strong tone of voice, and focus on both the music itself as well as the surrounding Punk culture of the time; providing a key insight into what subculture meant to people in the past. The USP At the time, these zines were a completely individualistic way to express political outrage and the opinions of the youth. Zines were a huge part of Punk culture, and gave a sense of credibility to the subculture through the medium of print. As well as this, the tactile quality to the zines meant that they were almost seen as a bible of the time; going against everything seen in mainstream fashion magazines and becoming the antithesis of the glossy pages of Vogue. What can I take from it? The zines of the past carried an incredibly opinionated and straight-talking feel. While I still want my publication to do this, I also need to consider the subculture itself as I do not want to undermine them but rather celebrate and give them a sense of credibility in the modern age. As well as this, I want to carry the DIY ethic in terms of both the making of the publication as well as its visual appearance and aesthetic, and aspire to do so through combining black and white with a pop of colour, scanning images to give them a more authentic feel and including much of my high-contrast primary imagery.

124

INTERVIEWS EURIE, NIKETOWN SALES ASSISTANT 12/01/2017 TYPE: Face-to-face Total time: 1:26 Q:Hi Eurie, is it okay for me to interview you today, and do you understand that any information you give can be used within my final year dissertation project? A: Yeah, that’s fine. Q. Did you notice anything about what they (consumers) were wearing aside from Nike, brands wise? A: Not off the top of my head, no Q: So do you like Grime music? A: Not really, but if it sounds good then I’ll listen to it Q: Would you say that in your opinion Nike has a direct link to Grime music or is it just more that you like the brand, or? A: Erm...I wouldn’t say the link is direct, but if Grime artists, or people who associate themselves with Grime music and stuff, if they wear it then that’s them. But most of the time, it’s just a brand. Q: Would you say there’s definitely a ‘Roadman’ type? Would you get that vibe from it? A: Definitely, yeah. For example our Tech-Pack, the entire bottoms and tops, the full tracksuit, we usually do just get Road Kids just coming in and buying that. Most of the time it’s the only thing they would buy and its the only thing they come here for. Sometimes they do couple it with shoes that are also associated with that term as well. Q: So do they just come in and head straight for that section? A: Yeah, definitely! Q: Ok thank you for your time, what was your name again? A: Eurie Q: Ok, thank you very much.

125

FRAZER ROBINSON, STRAWBERRIES & CREEM FESTIVAL TYPE: E-mail How did Strawberries and Creem first come about as a festival? What attracted you to the Grime music scene in particular? S&C was first devised by myself, William Young, Preye Crooks & Chris Jammer in a coffee shop in Cambridge. We had been running nights at several Cambridge nightclubs for about 2-3 years and wondered what the next step up from this was. Cambridge lacked a music festival for young people, so we sought to change that. Creem was our Cambridge University based night, hence Strawberries & Creem. How would you describe Strawberries and Creem in 5 words? Good hearted, inclusive fun for everyone. Why do you think that Grime music is only just beginning to thrive in the industry after already being established for so many years previously? The resurgence of grime music to me in the last 2 or so years comes from a shift in the music industry. Back during the shift from Garage to Grime in about 03-04 all people had to listen to Grime was pirate radio. Without pirate radio, grime music would simply have not reached the ears of its listeners in such a big way. The likes of Slimzee & Geneeus climbing up tower blocks to install radar dishes is a testament to the DIY approach that grime had originally. We mustn’t forget that Grime did hit the mainstream before, albeit a watered down pop crossover style. The likes of Skepta & Wiley coming out with poppy tunes like Bad Boy which charted at something like 24 in the UK chart shows this isn’t the first time the industry has tried to cash in on the genre. It’s definitely different this time around though. Do you think that a more commercial interest in Grime has made it less powerful and relevant to its original roots (e.g. BOW E3, clashing, etc.) Like I mentioned before, this more recent resurgence I feel is a lot more authentic sounding and wasn’t devised to sell units and cash in unlike the 2007-2010 era. This generation of artist is also a lot more genuine, and the fans that weren’t around during the first phase are doing their research on the origins which is only beneficial. In my opinion you can’t claim to be an enormous super-fan of a genre without knowing the backgrounds & roots of the sound. MC’s like Novelist & Elf Kid are showing respect to the older generation whilst still pushing the boundaries of Grime music (i.e Novelists “Ruff Sound” movement - ((Rinse FM Show)). In terms of the branding of the festival, do you cater it to an already existing audience or do you try and create a new ‘breed’ of customer? I wouldn’t say we’re trying to create a new breed of customer, more try to ensure we have something for everyone. The festival is coming up to its 3rd year now & we’ve learnt a great deal along the way about what we ultimately want to achieve with it, and how to go about it. In earlier years we booked people we as a 4 liked, whereas now we know that to grow we need to be inclusive, whilst sticking to our roots. In regards to the clientele of the festival, is there a wide spectrum in terms of age/style/gender/race or more of a defined consumer profile? I think we target the 18-25 market primarily in the age sense. In the other senses I think our clientele cover the entire spectrum of styles, we definitely have an equal ratio of male to female & a wide range of races attending. Do you think that Grime is largely a black, male-dominated genre of music or do you think that it is becoming more widely accessible? I think in the beginning Grime was associated not in racial terms but more social classes. Grime originated in the tower blocks & council estates of London, an area that was mostly populated by black people. Thats not to say white people didn’t play their part in the birth and development of the genre i.e Slimzee, Geneeus, Devlin, Scratchy, DJ Maximum, Logan Sama. Nowadays I think the listener base has diversified but partly because of the music industries realisation that grime sells & their willingness now to push it on Television, Radio etc. (When did you ever see Grime documentaries on Channel 4 before?). Thats not to say young white people from other social backgrounds can’t enjoy the music but they must remember where it came from and how unprivileged the people behind it were in the beginning. Do you see particular brands being worn on a large scale by attendees of the festival/do you think that people feel the need to wear particular brands in order to feel a part of the scene? 126

I would really hope not. Obviously there are on trend brands at the moment that are being worn by the 18-25 market that you see everywhere, Palace being one that springs to mind immediately, but I would really hate it if anybody felt they’d need to wear a brand to fit in. Not what we’re about at all. Would you class Grime as an up and coming subculture? Why is this? I wouldn’t because it’s not up & coming at all. It’s been fully recognised by the mainstream industry both back in 2008-2010 and again in mid 2014-present and is being pushed with the same force as Hip-Hop or House music. One aspect I think we could include as “up-and-coming” would be the very young MC’s on radio at the minute who are working very hard to reach the same levels as their older peers. (Radar Radio, NTS Live, Balamii all containing sets with MC’s I am referring to). Many people say that Grime is the new Punk of this generation. Do you agree? Do you think that there are any similarities between the genres? I think Grime definitely gives a voice to these young people who feel frustrated with the way in which the world seems to be forgetting about them & disregarding their futures. Young people relate to the young people who are in the spotlight talking about issues that relate to them. It’s a reason why Grime was so popular in the council estates. Because they were relatable. One of my favourites from the new gen Big Zuu covers this in his Warm Up session for SBTV (https://www.youtube.com/watch?v=qe3rnaMcei8) He explains his life in the ends, wanting to succeed for his mother, and how against him & people like him the system is. Systematic oppression is a huge part of these people’s lives, so much so that MC’s are rapping about it and spreading awareness. I myself remained ignorant about the way black people are oppressed until I got more involved in the scene and heard recollections of how people were treating. Even in places like Cambridge I’ve had black friends stopped in the street for no reason. (See P Money - Stereotype). So when these MC’s are relating to the listeners, I definitely feel there is a similarity with the punk movement.

127

JASON WHITTLE, OWNER OF FOREMANS BAR, NOTTINGHAM 14/01/2017 TYPE: Face-to-face Total time: 23:10 Q: What first attracted you to the Punk scene? A: When I was a kid? I was about 11 or 12 years old and I head an album called Inflammable Material by Stiff Little Fingers. It was like getting a hit in the face by a brick. I had never heard anything like it! It had been out about a year, two years, and at the time the charts were very wishy-washy, and the Punk thing had died off quite a lot because that was 76-77 - those two summers really nailed it - and then it died off a lot and this band out of Belfast released singles in 78 and then this album came out which is the first I’ve ever heard about it. that just got me hooked. From there it was just all the roots that came out of it and I just went and explored all of the different avenues that that then led me down if that makes sense. Which then obviously led to The Clash, obviously th Sex Pistols which everyone had heard of, but I was a bit too young you see, so I found that when I was about 11 or 12 years old all courtesy of a band called Stiff Little Fingers. It just spiralled from there because of course all of that leads to other stuff, because then you find out what their influences are which is mainly reggae and rock’n’roll which then leads to Bob Marley, Peter Tosh, Elvis Presley - all that sort of stuff. And it just goes back and back and back, your sort of question of subcultures could go right back to the 50s and the 30s and the Ledbelly coming out of the slave movement and stuff like that. Chuck Berry, people like that, who had to fight to be represented, who would go and play their music to white people but they weren’t allowed to mix with white people. It was crazy when you think about it now, but these people are still alive and still playing! But yeah, thats really what started it for me and then from there I sort of went down avenues to see what had influenced all of those people, to widen your scope. One thing that really bugs me, you know, is when people say ‘Oh I’m a Punk, I listen to Punk’, thats just stupid! Why pigeon-hole yourself to one genre? There’s so much more to all kinds of music! Believe me, plenty of people who come in here who only listen to Punk, Metal, Ska, Reggae, whatever! All music! If you listen to one you should listen to the other, it all benefits from each other anyway of course. But people pigeon-hole themselves which I think is rather silly. As soon as you start doing that, you don’t know what you’re missing. Q: Why do you think the Punk scene is still as strong as it is today? A: The Punk scene went through a bad time in the 80s, early 90s. It dropped off, I think in the 80s it got a very bad press. It was seen as old hadbeen’s. In the 90s, it seemed to have a resurgence. More bands were coming through and saying ‘yes we were influenced by the early Punk bands’ so I dunno, people who are now in their 30s would do what I did and find out who their influences were which would take them back to the original Punk people. I think it was a very strong movement, and again the people who made these early records are now touring for their 40th Anniversary tours, The Damned just did a 40th Anniversary Tour, The Stranglers done a 40th Anniversary tour 3 years ago. A lot of these people never thought that it would last. They never thought they would still be doing it in 40 years time, 1. because they thought they had to get a real job, and 2. because they thought it just wouldn’t last and it has. I mean, you’re listening to The Jam now and this is Paul Weller’s band. He’s nearly 60 years old and he’s still touring around doing new stuff. Like it or loathe it, he’s still doing it. They’ve realised that it’s their jobs. When you start these things and you’re 16 or 17 years old, you do it as a bit of fun. You’re in your garage or your bedroom with your mates and then you realise ‘shit, I’m 30 now and this is the only thing I know how to do’. That’s why it’s still going. I go to a lot of these gigs now where these guys are in their Sixties right, and you see two or three generations of the same family. I mean, you see 4-year-olds on shoulders with headphones on which is fantastic. We go to a big festival every year in Blackpool called Rebellion which is the biggest Punk festival in the world, and you’re looking at 15,000 people from all over the world going there. You see 5-year-olds, 15-year-olds, 20-year-olds, 70-year-olds, everything. I think that when Punk started, rightly or wrongly the press put some kind of aggressive label on it because the music was aggressive. Some of the people were, I won’t lie about it some of the people were idiots, they would cause trouble. And of course, it takes one person to cause trouble for the press to leap in. You could have 100 people having a great time and just one idiot but the press are on that - Daily Mail, Daily Express, that kind of thing. That’s all the people remember isn’t it? It had to shake all of that off and almost rebirth itself which it did do. But as I said, mainly through people re-finding it through bands like Oasis who were like a sort of cross between The Sex Pistols and The Beatles. heavily influenced by The Clash, The Pistols, The Jam, that sort of thing. Those young lads and girls who were into that then found a lot via us, and that’s why I think it’s carried on. It just seems to get stronger. In America, the movement is massive, huge! I’ve been to America to see Rancid and they play to crowds of about 4 or 5 thousand people. I go maybe twice a year to festivals in the States and you’re looking at what they call a small festival will have 15-20,000 people. They want original English music over there because it was born here. Some people say it was New York, some people say it was London, but I think it’s mainly seen as here. You get so many A-List fans that go over there and the Americans can’t get enough of it. Q: Do you see the same customers coming in, the same groups of people? Or do you think that Foreman’s is seen as more of a novelty? A: Yes and no. I could go on for years about that! I’ve been here 20 years, way before all this was here. There used to be the Nottingham Post old printing building over there, which is an old dingy Victorian building, me, The Bluebell, Italia the Turkish takeaway and it was a one-way street. You only came down here to go to the theatre at the end, and that was 1998 I took this place. I can’t deny the fact that that has brought a lot of people over. The footfall has obviously increased. But as for customers I’ve had a hard core of customers who have came in here for 20 years, there’s no doubt about that. But, if you look behind me there, this guy over here, this guy is in his 60s and always comes in, has a bottle of wine, listens to whatever’s on. The guy in the window, he’s probably 70 years old and probably comes in at least 2-3 times a week. So you’ve got a very eclectic mix of people, you could have millionaires in here and you wouldn’t know because they all come in here for one reason and that is to relax and 128

listen to music - whether that’s Punk, Reggae, Rock, whatever. Q: You can definitely tell that there’s a sense of community A: That’s right, so much so that a few years ago we started putting gigs on in here. In fact you’re sitting on the stage now. This goes out (jukebox), all the stools go out and we’ve had some famous people in the Punk world in here. i think it’s great because we’re actually doing something different. There’s so many venues around big towns which have shut down and once a venue goes its not just the venue that you lose but the sense of community goes with it, too. And, its not just the venue that is lost. The town loses out on having bands playing to them, which is really really important. Any kind of live music whether you like it or not is important, it really is. Your question was do we get the same faces, yes we do. If there’s something on at Rock City then we get a lot of people depending on what the show is. You do see the same faces, but a lot of people come here who’ve came to Nottingham on holiday or whatever because people know us. We sell t-shirts and stuff like that worldwide. I can go to gigs in the States or in Germany and I see people wearing Foreman’s t-shirts which is a great kick! Q: Do you think that there is an especially strong Punk scene in Nottingham? A: It is actually, we’ve always had a good scene here. There’s always been good venues in Nottingham. Going back to when I was a kid there used to be a place called Hearty Good Fellow which was around the corner. I don’t know why, but there has always been a good scene. Rock City, all the bands love playing there. Its one of the best venues I’ve been to in the country and I’ve been to most of them to be fair because I’ve been doing this so bloody long now. It’s not only the main hall, its disco 2, Rescue Rooms, its great. There’s a nice cold vibe to it, really laid back. When you’ve got somewhere like that which is just off the central town I think it always lends itself to having good local bands play there. We put a show on there last week, it was the first Sunday of the New Year. I put on 5 bands for a tenner, all local bands, and it nearly sold out. For the first week of the year you’ve got to be happy with that because you’re using local bands, at a good price with an iconic venue. You ask your parents and if they’re music people, they will have heard of Rock City. Q: Describe Punk in 5 words A: Thats a ridiculous question isn’t it! Okay, it’s cliched, four words: A Way of Life. Q: What is your understanding of a Subculture? What makes Punk a subculture? A: This is a much debated topic you know. When does it become a subculture? When you look back on it, or when you’re in it? I think the most important thing about subculture is the spirit of community it gives as opposed to the way people dress. That’s the way to identify people maybe, but I mean you can be identified as anything these days. There’s two versions of Punk. You have the 76-77 Punk that was born out of the art schools in London and gave you The Sex Pistols, Suzie and the Banchees and all of these bands. And then in 1978, that first lot got a bit pretentious really, and you had the working class movement of Punk which came out. And that came out of boredom, basically. When you’re bored, you need to do something. So they had what they called punk rock, and then you had the kids on the council estates like Cockney Rejects and got a bit more raucous and a bit more shouty. That’s when this violence got a hold of the press. The clothing thing with punk rock, that started with all of the rips and the tears and the safety pins because people couldn’t afford it. People couldn’t afford trendy t-shirts, so they’d buy an old Pink Floyd t-shirt and cut it up to say that (sticking two fingers up). And then of course people caught on, Malcolm McClaren being the most famous and Vivienne Westwood. They caught on and started buying these things, cutting them up themselves and selling people bloody bondage trousers with zips in and chains hanging off. People were doing this beforehand of course buy out of necessity, not out of want. That almost spoiled it in a way because that then gave it the high-street look. Then when the high-street got a hold of it, the magazines got hold of it and you would open up Sound or New Musical Express, things that aren’t around anymore like Melody Maker and you would look in the back and you would be able to buy ‘Clash Trousers’ or ‘Sex Pistols Shirts’ and stuff like that. So yes it was a subculture because you could see someone wearing a shirt and you knew that you would probably get on with them because you’ve got something in common with them straight away, but it was all manufactured by that time. Q: Do you think the original idea behind Punk has been lost as it has became more commercialised? A: Absolutely. A lot of people say, there was a famous club in London called the Roxy, and that lasted 100 days. That shut at the end of the Summer in 1977 and when that shut thats when people say Punk died. Or when The Clash, who were a massive band, signed to CBS Records. The DIY aspect is what got Punk on the road. As I said about that album, Inflammable Material by Stiff Little Fingers, their first single they glued all the edges together and sent it out on their own and stuff like that. But when the big record labels came in, the DIY ethic went. But, it put more money into it so spread the word further, so there is various ways of looking at it. It wasn’t all bad when it happened, of course not because the record company became a vehicle for more people to hear it so it wasn’t all bad. When it had that real dip in the 80s and then came back in the 90s, it had that real DIY aspect to it which has remained until this dal, really. Q: Have you heard of the Grime genre? A: I’ll embrace any music, I’ll listen to anything and I mean absolutely anything. Stormzy is your Grime boy at the minute, isn’t he? That’s the beauty of something like Spotify. It’s dreadful because the artist gets something like 0.001p out of every play, but again it spreads the word quickly doesn’t it. I can’t say I know a lot about it, but I do like to see what’s available to listen to. Q: Do you think that the two are comparable? A: It all starts off with an anger doesn’t it. Same as rap did, really. It’s all out of anger, and in the 80s in New York where rap started black people had a lot to be angry about. Anger and boredom. So they were possibly born of the same thing, so as soon as you look at it like that they have something in common don’t they. If you look at the early Punk clubs like The Roxy, The Vortex, all these old places, they all had Reggae dj’s. The 129

Punk’s felt pushed out of the mainstream, black people got pushed out of the mainstream so they got together and straight away there’s something in common. You can say that rap, grime, punk, rock’n’roll from the 50’s all have that in common, whether its Bob Dylan singing his folk stuff in the 60s because he was pushed away from society. If you feel like youve been outed, you’re going to start something. Whether it be a subculture, a clothing line, music or whatever - you’re then going to feel like you have common ground with someone else who does a similar thing, I think. Q: Is there anyone in particular you used to idolise or idolise still? A: I think that when you’re growing up you do, and then you grow out of it. As I said my first major band was Stiff Little Fingers, and they’ve been coming in here playing and they’ve became friends so its bizzare how it comes full circle, almost. I think that when you hit 50 and 60 and when you should stop doing that...as a kid you want to be or you want to meet The Who, Sex Pistols, Madonna or whoever, of course you do. Q: What is your best experience involving Punk? A: I think here. It’s got to be here. When we started putting bands on in here, Glen Matlock who is the founding member of The Sex Pistols has played in here. All of that back wall is full. Joe Strummer from The Clash used to come in here when he was in Nottingham. But anyone has played here has signed on that wall. The proudest thing about it for me is being able to put them on in here and keep the movement going, and introduce it to new people like yourself.

130

AMY LOVE & GEORGIA SOUTH, NOVA TWINS 24/01/17 TYPE: Face-to-face Intro: Hi! It’s great to meet you guys. Is it ok that I record this? A: Yeah, of course. 1. You produce such a raw sound – what/who are your main influences? A: We always say like, our taste is quite eclectic, we vary from anything up to like, what, it could be Punk, Rock, R&B, we’ll sit there listening to Destiny’s Child then one minute it’ll be like The Raconteurs or something, so it’s really eclectic. I think our sound is driven and started from our friendship and then what we wanted to achieve. We just started playing around with things and it just evolved. G: It’s a natural kind of feeling of what we gravitate towards and what sound. We feel good playing a really heavily distorted sound so we’re gonna do that. A: Just a natural process and it just turned into what it is now. 2. I’ve noticed a lot of what you do is live and created there on stage, nothing is pre-recorded – why would you say an authentic Live sound is so important to you? A: We actually make sounds that are quite synthetic sounds but it’s all coming from guitar and bass and drums, so yeah. It’s not important, we just like to do it, actually. G: It’s more of a challenge. If you’re having loads of little detailed parts its like ‘oh can I hit all of these buttons’ you know. It’s more fun and more of a challenge. A: Definitely more of a challenge. You can put things onto a backing track and it’s easy, but we just think actually if we can’t basically do it live then it doesn’t go in the song, and that’s just how it is. So we like to be able to achieve those sounds and everything we do on the spot. 3. If you could create a playlist of top inspirations, what songs or artists would be up there? A: Our inspirations? Can it be our party list?! (laughs) G: We’ve got this Nova party playlist A: Lets get our Spotify up G: It’s like anything from like Missy Elliot, Snoop Dog A: This is our Nova Twins Party Bangers when we wanna get in the mood G: DJ set coming soon (laughs) Snoop Dog Drop It Like It’s Hot, Shutdown by Skepta, JME, Missy Elliot, Survivor Destiny’s Child, SBTRKT Wildfire, Out of the Black Royal Blood, Rihanna, MIA, Kia My Neck My Back, White Stripes, Lola Wolf, Arctic Monkeys, The Raconteurs A: Just random, everything! That’s why when people ask us that we’re like uh...we don’t know if it’s gonna make sense, but that’s the way it is. Sometimes when you wanna chill you don’t want to listen to like heavy rock, we just want to listen to some nice calming music or vice versa. 4. People have described your sound as grime meets punk – do you agree or are you looking to create a new genre? G: Back in the day it was more segregated with what you listened to wasn’t it. A: People enjoyed being in their comfort zones I guess, and we’re the generation of mixing it up and I guess that speaks a lot in our music as well. People name it, people will be like ‘grime, punk, or grunk or grop’, we’ve had so many different variations and I guess thats so people can try and describe it and put a label on it. We say ‘Urban Punk’ as more of a wider scope but you can see why people want to try and label it and different interpretations of it. G: You can see why people would say that but we wouldn’t go out there and say we were this or that, it’s just our songs. A: It’s a fusion of genres I guess which creates this genre, which is whatever people want to call it G: The Nova! 5. Taking the mixing of genres into consideration do you think that in contemporary society a subculture can still exist? A: I think it’s nice that people want an identity, and some people do it through their clothes, some people do it through their speech G: It’s rare that you’ll see one person as one thing, like a Punk A: Well you’ll see loads of Punks in Camden. You’ll see someone with a big mohawk and you’ll know he’s a punk, or you’ll go to Essex where I come from and you can tell exactly where they’re from. In some ways it’s nice because its a form of expression, it depends on your attitude. If you’re like ‘this is the way to be and the only way to be’ then there’s a problem. But if you’re happy to express yourself as an individual and accept other people then that’s great and thats how it should be. 6. Overall, what are your opinions on the Grime music scene in particular? G: I think it’s awesome, its so DIY. They just do it. They don’t wait on anyone to do it for them they just do everything and make their own videos, release their own tracks just from the software in their bedroom 131

A: They work hard, its all off their own backs and they’ve created this movement that has basically pushed aside the industry to the point where they’re important. Its an important part of today’s culture, definitely. For the youth to have a voice and for Georgia growing up in South East London you’re immersed in Grime and there’s such a big Grime culture there G: I love how it’s such an English sound too, there’s nothing more English than a Grime track. A: Some of what you do on the bass can sound like that. G: I guess the synths-ness of my sound can be related back to that. I guess they’re quite dark, the lines. They’re very minor and I love that about it, so I’ve definitely been inspired by that kind of thing. They’re dark and gritty, and I love that about it. 7. What do you think the main connections are between the Punk and Grime genres? A: When people say we’re a punk band, we literally don’t see ourselves as a punk band or a grime act, so the only thing that we can reference is we’ve gone the DIY approach and we make our own little videos at home. It’s just doing things off your own back. 8. Where do you see the future of Grime going? G: It’s already escalated hasn’t it A: Yeah, I think it will exist in its own right for a long time. Just like all genres, things phase in and phase out, but it will stand. G: Its so unique and this original organic thing it will just always have a place because it’s made its own place. A: They have a strong sense of community in the Grime world, it’s like you have the Elders and you pass it on to the Youngers and stuff and they all look out for each other. Everyone jumps on each other’s tracks and its about building that family and to strive for something bigger I guess. 9. Where do you look for inspiration aside from music? E.g. magazines/film/art G: Probably like life, experiences. A: A lot of situations that we can laugh about or both feel at the same time goes into the songs a lot, and we always look at each other on stage and laugh which is always fun. Growing up, surroundings, we’re interested in fashion G: We’ve actually got a little Nova fashion jacket range coming out soon that we hand-stitched 10. Do you think that there is a gap/opportunity in the Grime music scene for showcasing art/creating a publication like a magazine? Is a digital base more important to you or could the two work together? A: I think it is it’s own thing already, you know you’ve got Skepta and people like that who are Pioneering the way for more opportunities for Grime acts and stuff like that. We’re not necessarily in that world so we observe and we’re inspired by certain aspects and we really admire it. Its just an interesting thing to see develop and grow. I do think it will stay. 11. You can tell that your personal style really reflects your sound – how would you describe your style? A: We’ve named our little brand Bad Stitches. It’s very like - because it started from us being not very good - Georgia made her trousers and I made these and this jacket. It started off with us just being like okay, we haven’t got much money, we need some stage clothes, what do we do about it? Go into a material shop, and customise! G: Customising our own old clothes and jazzing them up a bit. A: And then it just escalated on Halloween and we wear them now all the time G: We always say it’s our Nova style A: We say its just Nova. If we’re feeling good we’re like “yeah, we feel Nova” 12. Would you say your style influences the music you make or vice versa? A: Music influences style, definitely. I feel like our music came about and then we wear our music, definitely. We think our music sounds like what we wear. G: As our music is getting more radical our clothes are getting more crazy! A: You have to keep up with the music! 13. Any particular brands that you tend to stick to wearing/are loyal to or do you just see things that you like and buy them? G: Underground shoes have been really kind to us, we literally love them anyway because they made the Creeper. A: We wear a lot of Docs but with our clothes we usually just find odd bits like in thrift stores, something cheap which is still good quality and then we do it up. Its more shoes that anything. 14. A few of your songs have lyrics of situations which you’ve experienced. How important do you think relatability is when it comes to creating a fanbase or following? A: I think it is important, we write about things we know. Also it’s quite a general topic so we know that people can identify with that as well. It can be quite broad or quite specific but it is important that people can identify and have fun with us or relate to it. G: At our gigs you can just get a sense or feeling of us being a unit A: We always say we want different types of people coming to the gig, anyone and everyone’s welcome. Just be yourself and have a good time. That’s what we want to create. 132

15. How does performing your genre of music make you feel? A: I get really worked up sometimes (laughs) G: We can get really like, sass A: Really sassy! We’ve got this new tune called Thelma and Louise and every time we play it after I feel really worked up, like I could just take on the world G: We have to feel the songs that we’ve written A: We don’t have any slow songs, not one 16. How would you describe the Nova Twins in 5 words? G: One of the words has to be Nova, we always say it! A: Odd, we’re always a bit odd. G: Imaginative? A: How would you describe us (to Georgia’s mum) GM: Cray! Creative A: Creative, Crazy, Peculiar, Imaginitive, DIY, Weird GM: Can you say crazy twice? A: We’re just weird like we have our own little ways and in-jokes

133

CHRIS HARRISON, SALES ASSISTANT AT END. 25/01/2017 TYPE: E-mail 1. How would you describe END. in 5 words? Contemporary, streetwear, wearable 2. What first attracted you to working for the store? I liked the brands that end carried and wanted to work in a more fashion forward retail job than the one I was in at the time. 3. Would you say that you and all of your friends dress in a similar manner/are drawn towards the same brands? If so, which are these? Most of my friends dress the same; fairly minimalistic menswear, Scandinavian influenced clean outfits. They wear a lot of Norse projects, acne studios, apc, and some Of the more toned down pieces from our Legacy, aswell as incorporating high street pieces from retailers such as cos/h&m/Reiss. I’m more the outlier as I mainly wear things by brands such as Rick Owens, Undercover and Helmut Lang as I prefer these designers aesthetics. 4. Do you think that this sort of influential behaviour can be related to that of Supreme and its similar cult following. Do you think that branding could be powerful enough alone to form a subculture? In terms of the brands mentioned I don’t think that my friends dress with any brand loyalty, they just have an aesthetic style they like. In my terms Rick Owens definitely has a cult following similar to that of supreme, however much more niche due to the higher price points and avante garde designs. A brand definitely can form a subculture, I’d say supreme has formed its own subculture although I wouldn’t be sure exactly what to label it. Kid’s dedication to that brand is extraordinary. 5. What is your understanding of a subculture? My understanding of a subculture is a group of people who share common values and beliefs, and generally in my mind these shared beliefs are characterised by a common appearance or stylistic quality between the members of that subculture. 6. What genres of music are you most drawn to? I’m most drawn to rock influenced music; anything from fast and noisy punk music to softer psychedelic sounds. Outside of this I listen to a lot of hip hop. 7. Overall, what are your opinions on the Grime music scene in particular? I used to genuinely love grime music a few years ago, but in my opinion what the scene has developed into is 99% total shit with only a small handful of artists who are genuinely talented. I still listen to older grime music however from the earlier 2000’s such as crazy titch and durrty goodz. 8. To the best of your knowledge, how would you describe the genre in 5 words? Fast, honest, lyrical, streets, British 9. To the best of your knowledge, would you say that there was a visually stereotypical listener for the Grime genre? If so, what do they look like? In my opinion there is absolutely a visual stereotype that people who align themselves with grime music gravitate towards, and this has taken away from the authenticity of the scene for me. Heavy on the sportswear with interjections of high fashion, for example a nine tracksuit with a pair of Giuseppe zanotti shoes, or a moncler down jacket paired with some true religion jeans and some Nike air max or tn’s. A lot of mixing high and low however the brands are very important. 10. In terms of the different brands sold at END, do you think any of them lack a certain presence or go unnoticed by a fair amount of customers? If so, why do you think this is? This one is tough as end now carries (I think) over 200 brands, so there’s obviously some that don’t get the exposure that others do, however one brand that I love that I believe doesn’t get the attention it deserves is Undercover. This may be due to end’s decisions to buy relatively ‘safe’ pieces from the brands collections however in my opinion Jun Takahashi is one of the best designers working right now and has been for years, and the pieces produced by undercover are incredible, it’s just with it being a cult brand with niche status that it doesn’t get the attention that other more accessible brands get. 134

ADAM HARPER, MUSICOLOGIST AT OXFORD 26/01/2017 TYPE: E-mail Overall, what are your opinions on the Grime music scene in particular? Difficult to say overall! I think that grime has in many ways struggled for a number of reasons. As a grass roots subculture, it’s been under threat from police action (form 696) and from rising living costs and lessening free time in London. Lately the early grime scene has earned an extra layer of artistic respectability as a ‘classic’ sound, and instrumental grime has flourished among white middle class producers away from London - I’m not sure how I feel about that. I like that the style has earned a certain kind of sophistication, but there are potential problems of appropriation and exoticisation. To the best of your knowledge, how would you describe the genre in 5 words? Inventive alien attitude and bass Why do you think that Grime music is only just beginning to thrive in the industry after already being established for so many years previously? I’m not sure I’d agree with that. It’s had a number of moments in the sun. Dizzee Rascal’s first two albums were popular and well received, he won the Mercury Music Prize. Wiley and Tinie Tempah have had some chart success. If it’s successful now it’s because it’s become a tradition something with a history, something to be respected. I think American artists are using grime to reflect edgy and authentic tastefulness. Do you think that a more commercial interest in Grime has made it less powerful and relevant to its original roots (e.g. BOW E3, clashing, etc.) That’s a really difficult question. Certainly the image that the commercial music image tried to create of Dizzee - that he was a playful, affable scalliwag (‘Bonkers’ and ‘Dance Wiv Me’) - didn’t do him or the grime scene justice, with its harsh and inventive sounds and lyrics. In the past, we’ve seen music such as rock and roll inspire and have a massive impact on contemporary art, such as the likes of Barbara Kruger and Andy Warhol. Do you think that the grime scene has an opportunity to do so, or has done so already? Interesting question. A key person to look at here would be Fatima Al Qadiri, who played a major role in bringing grime into the American Art World, and then consolidated that with her group Future Brown. However, its role was arguably limited there - it became a symbol of edgy modernity and perhaps not always much more. Would you say that there was a visually stereotypical listener for the Grime genre? If so, what do they look like? Ooooh. I should imagine the popular stereotype of a grime listener is of an angry, hooded young person of colour. But I think at least as many listeners are slightly nerdy white ‘hipsters’. Do you think that Grime is largely a black, male-dominated genre of music or do you think that it is becoming more widely accessible? Well, even from the beginning there were female MCs like Lady Sovereign. But overall, I’m not sure it’s becoming that more accessible. If it became more accessible, say with smoother, more danceable melodies and moods, it might no longer be grime... Would you class Grime as an up and coming subculture? Why is this? Hmmm - Grime’s been around since 2002 / 2003, but it has been growing since then in a number of ways. I’d prefer to call it a ‘sound’ or a ‘style’ than a subculture, because I think that some of the other non-musical elements needed for a subculture - venues, forums, geography, events, canons are not so consistent, especially since around 2010. Many people say that Grime is the new Punk of this generation. Do you agree? Do you think that there are any similarities between the genres? If there’s a similarity, it’s the energy and the ‘do it yourself’ ethic, together with the way it has become classic. A difference would be that grime didn’t make such a big splash artistically or publically, as it was quite relatable to rap and dancehall. Do you think that there is a gap/oppertunity in the Grime music scene? What is this? 135

I think you can make almost any kind of music within a grime template, so Iâ&#x20AC;&#x2122;d always say thereâ&#x20AC;&#x2122;s room for more experimentation. That and more MCs!

136

ASHLEIGH KANE, ARTS & CULTURE EDITOR AT DAZED 26/01/2017 Q: Overall, what are your opinions on the Grime music scene in particular? I think the Grime scene is a really great place for people to find themselves, for them to find friends, I think that the way it began originally through like youth clubs and stuff just really brought people together. I think people see it as an aggressive culture, but I think once you give it some time and get to know it you’ll see it’s a huge community. It’s keeping people busy with things to do because they’re able to make music, they can make music on for example Fruityloops which was a free software you could download. I just think Grime is amazing, I love it. Q: To the best of your knowledge, how would you describe the genre in 5 words? Energetic, anarchic, powerful, promising and beautiful. Q: Why do you think that Grime music is only just beginning to thrive in the industry after already being established for so many years previously? I don’t think Grime is just beginning to thrive in the industry, I think it’s always been an underground culture. We have really famous examples of Grime I guess; Dizzee Rascal is one of the main ones. Also, depending on how you measure success I guess it is very established. I think now people are looking for something different, maybe its just the way that music has changed, maybe its an American acceptance with people like A$AP Rocky, Kanye West and Drake. Maybe them giving it the thumbs up helps. I hope it isn’t the main reason but you can’t really compete with the platform that those three artists have. Q: Do you think that a more commercial interest in Grime has made it less powerful and relevant to its original roots (e.g. BOW E3, clashing, etc.) I don’t think it has became less powerful or different to it’s original roots. I think a lot of this stuff we’re seeing is still about collaboration and community and there’s still a lot of the original mentality there. I wasn’t around in the start of Grime in the first wave because I’m actually from Australia but I’ve seen it over the past 7 years and I don’t think it’s any less powerful. I think its absolutely as strong as anything it’s ever been and we can see that with the release of Wiley’s latest album, really. Just giving his blessing to what is going on now and reminding us, as he would, that he is the godfather of it all. Q: In the past, we’ve seen music such as rock and roll inspire and have a massive impact on contemporary art, such as the likes of Barbara Kruger and Andy Warhol. Do you think that the grime scene has an opportunity to do so, or has done so already? Yes, absolutely. It has already if you look at Reuben Dangoor he showed his works at the Tate, anyway he does digital paintings of Grime MC’s as noblemen, he’s absolutely amazing. He’s done Wiley, Skepta, Stormzy, D Double E, He’s done loads. I definitely think that there’s scope for Grime to inspire art if it hasn’t already, and we’re seeing incredibly documentation through photography, we’re seeing people like Vicky Grout who is really in there. You’ve got Ewen Spencer, who was there for the first lot. That is art - photography is art, so yeah. Q: Would you say that there was a visually stereotypical listener for the Grime genre? If so, what do they look like? I don’t know as I’m an Australian Female. The thing I’m always feeling so proud about in Grime is that there isn’t a colour to it, theres not a race to it or a gender. There’s not a class to it. Obviously it comes from an estate culture typically but the people that are making it are the first people to say ‘this is all inclusive, if you feel with it and you fuck with it come be with us’. So no I don’t think that there is a stereotypical listener, I think they look like everybody. Q: Would you class Grime as an up and coming subculture? Why is this? No, definitely not. There’s international recognition going on right now like the BRITS finally saying to Skepta ‘come and be a breakout artist’ which I find a bit strange because he definitely isn’t a breakout artist, he’s just had a popular album but he’s not new. Stormzy yes, fine, he is on there. I guess it’s up and coming in some aspects but if you know grime then you know it’s not a new thing, it’s just maybe being commercialised a bit more. Q: Many people say that Grime is the new Punk of this generation. Do you agree? Do you think that there are any similarities between the genres? It could be the new Punk, I think it’s got definite elements of punk; you can see DIY, its all independent, they don’t want to fuck with major labels, theres this new BBK crew and obviously Dizzee Rascal got this big record deal and stuff, and I think they have had record deals before but obviously its all independent now and DIY. I think it’s really about a community that is self-sustainable. They’re making their own music videos, they are making their own music, making their own art, everything. They don’t need record execs, so if you’re thinking about it in that way then definitely it is the new Punk. Q: Do you think that there is a gap/oppertunity in the Grime music scene? What is this? I don’t think that there’s a gap but maybe we’ll start seeing more women. I don’t know, it is a very male-dominated area and I don’t think it feels like women are excluded at all. I’ve never felt unsafe at a Grime gig or anything being a woman. But we have women behind the scenes like Grace Ladoja who is Skepta’s creative partner, she creates his shows. There’s women in it, maybe they aren’t forward facing but behind all of these strong men there’s a woman I think so that’ll be nice to see female MC’s. 137

Thatâ&#x20AC;&#x2122;s it, I hope that helps! I can send, Iâ&#x20AC;&#x2122;ll write this down as well but I will send that you can use this, and hopefully it was helpful. But yeah thank you, bye!

138

TYPEFORM QUESTIONNAIRE: INITIAL INSIGHTS

139

140

FURTHER RESEARCH FUTURELAB TREND TALK 2016 Attending the FutureLab Trend Talk in Nottingham 2016 allowed me to pick up on trends which I would have otherwise never known about in relation to my final project. One main influencer was Gen Viz. Within the trend talk, it was discussed that Gen Viz are more of an attitude and mind-set than an age, which is a notion that is key to my consumer. The only main difference between my two consumers is the age gap, and I wanted this difference to be as unnoticeable as possible because of Gen Viz. As a society, we are becoming more and more visually inclined. This is also an aspect of this trend, and key to my brand. Through using key visual indicators such as Instagram and the brand website to drive my brand forwards, it is this focus on visual imagery paired with a strong brand identity which will drive Licker forwards. The visuals are so key to the brand as they are giveaways as to which subculture the zine will be addressing, and therefore subscribing to the service. Finally in regards to this trend, the idea that due to globalisation our culture is now more diverse than ever only reinstates the de-differentiation of the music world. As well as this, the trend of sober services also relates to my final project in the sense that more youth today are interested in buying into experiences and memories than ever before. Driving the focus away from the purchase of particular objects, and towards an idea and service, means that my brand is fulfilling the need for these trends to be met.

141

MARGUERITE HUMEAU NOTTINGHAM CONTEMPORARY EXHIBITION This exhibition influenced my final project due to its experiential nature. The impact of sound and movement within the exhibition was a crucial part, as it portrayed the lifespan of an evolved elephant tribe. Translating this idea into my own work meant that overall the execution of my project would be more engaging and interesting, and the consumer would be more likely to revisit the brand. Contrasting this exhibition to others without sound and movement, it was completely captivating to walk around and each time you revisited a aspect of the exhibit, you noticed something completely new. Following the sequence of events around the exhibit also impacted on my final project as it is what first drove me to wanting to have an experiential element which involved the consumer in the brand, to my execution stage.

142

RECORDS AND REBELS EXHIBITION, V&A, LONDON This exhibition was extremely insightful for my final project. Acting as a portal through time, it guides the visitor through monumental moments in history whereby music changed the landscape; both socially and politically. The sound experience which was a part of the exhibition really encouraged this sense of moving through time, as a different song related to each period was automatically played through your headphones as you entered a new space in the exhibition. This also drove home the nostalgia which music can bring and the memories which it can spark in your mind. Finally, despite everyone having a pair of headphones, delivering sound in this way made the experience almost individualistic and tailor-made, which meant that you became even more involved in the psychedelia of the experience. In conclusion, this exhibition really impacted on my final project as it emphasised the connection between music, politics and subcultural movements as well as acting as an educational insight into the past. As well as this, yet again the experiential element of the exhibition encouraged me to involve an event in some format, as it was easy to see how everyone around me became so involved within the exhibition as well as experiencing it firsthand.

143

DAVID BOWIE EXHIBITION, TOKYO Acting as a key motivator in the changing of sound and society, David Bowie has always been an influencer in my life. Visiting this exhibition allowed me to really take in the societal and musical changes which he made throughout his career and lifetime, and as I was at the Big Idea stage in my development, it truly inspired me to try and push my ideas and perspectives to a new level. The software which he produced to make lyrics also influenced me greatly in this process, as it randomly generated sentences and words for him to fit into his music. This directly inspired me to use random word generation in the Big Idea process, and in the end, was in fact how I came up with the name of Licker for my brand. As well as this it was another key insight into the subcultural relevance of the past, how quickly times can change, and what directly influences this change.

144

CONSUMER RESEARCH ANTONY MAY ‘INKED NOSTALGICS’ INTERVIEW Name:Antony May Age:44 Job Occupation:Distribution warehouse partner for the John Lewis/ Waitrose Partnership Forum and Council Rep 1.Describe your style in 5 words Barbershop bearded turned up jeans 2.How much of an impact would you say music has had on your life, and why? Massive impact, I associate most music to an event or emotion in my life it has an amazing recall of memory for me. 3.Who are your top 10 musical influences? The rolling stones, beastie boys, NWA, pink floyd, Rage against the machine, roberta flack, nina simone, pj harvey, roxy music, nick cave. 4.Above is the logo/visual identity for my branding. What springs to mind when you see this/would you associate it with anything in particular? For me it reminds me of the Rolling stones logo and the singer/ actress juliet lewis from juliet and the licks. 5.If it were a person, how would you describe this logo? Someone anarchic with a great sense of humour looking to taste something new physically and mentally, out for a good time. My brand is Licker - is a monthly subscription service whereby each month you receive a zine in the post based around a different modern subculture. Enclosed within the zine are two tickets to an event related to this subculture. The topic of the zine, as well as the event, are kept completely secret until you receive the zine in the post - the only hints you receive are through social media such as Instagram and Twitter. 6.What are your initial impressions of the brand? I like the concept for me its enabling the consumer to experience new things that may not be on their radar. 7.Would you buy into an independent print subscription service like this? Definitely. 8.Are there any subcultures today which you are particularly interested in or curious about? I follow the Fred perry subculture page as this provides great fashion, music and cultural ideals that interest me as well as certain motorcycle custom cultures / subcultures. 9.Inside the zine, what sort of information would you personally like to know about different subcultures? (e.g. what’s up and coming in this area, their style, etc.) For me visual impact of what the subcultures are about is very important to me as I find to much text can sometimes put me off, I have a short attention so I need that instant attraction to spark my interest. 10.How would you feel about attending an event which you previously may have known nothing about? I enjoy the surprise of the unknown as I am very happy to give something a try and happy to walk away when I know it’s not for me. 11.What are your initial impressions of Grime? Do you think it could be classed as a subculture? Its not a genre I know that much about, maybe its classed as more of an underground thing rather than a subculture! sometimes theres little to distinguish the two.

145

KIRSTEN KNAGGS ‘NEW WAVE AUTHENTICS‘ INTERVIEW Name: Kirsten Knaggs Age: 20 Job Occupation: Media Student 1.Describe your style in 5 words: Vintage, Edgy, Flexible, Unique, Adjustable 2.How much of an impact would you say music has had on your life, and why? Music has had a significant impact on my life, it has been the only constant - seeing me through my childhood, teenage years and into my adult life. It has given me so many opportunities to meet new people and see my favourite artists live, experience music festivals and help me through the hardest times in my life. 3.Who are your top 10 musical influences? Paramore, The 1975, Palace, Tove Lo, Arctic Monkeys, Catfish and the Bottlemen, Slaves, Kendrick Lamar, The Maine, Circa Waves 4.For the logo/visual identity of my branding (above), what springs to mind when you see this/would you associate it with anything in particuLar? When looking at the logo I would associate it with the punk aesthetic based on the image and the colours 5.If it were a person, how would you describe this logo? Individual, edgy, outgoing, someone who has a strong significant style and is not afraid to be different My brand is Licker - is a monthly subscription service whereby each month you receive a zine in the post based around a different modern subculture. Enclosed within the zine are two tickets to an event related to this subculture. The topic of the zine, as well as the event, are kept completely secret until you receive the zine in the post - the only hints you receive are through social media such as Instagram and Twitter. 6. What are your initial impressions of the brand? The brand sounds pretty cool and unlike anything I’ve heard of before! I love the fact that the topic is kept secret until you receive it - makes it seem more exclusive. Receiving tickets to an event is also a pretty cool aspect that I think would work really well 7. Would you buy into an independent print subscription service like this? Yeah I would definitely buy into this subscription service! 8. Are there any subcultures today which you are particularly interested in or curious about? The ‘Riot Grrrl’ subculture and the ‘Hippie’ subculture have always been ones I have been particularly interested in 9. Inside the zine, what sort of information would you personally like to know about different subcultures? (e.g. what’s up and coming in this area, their style, etc.) The origin of the subculture, like a bit of background information as to what they are all about as well as information on their style and any upcoming events related to that subculture. 10. How would you feel about attending an event which you previously may have known nothing about? I would love it! I live quite spontaneously so I would like to attend an event I knew nothing about and learn about new music/subcultures and meet new people - step outside of my comfort zone and try something new! 11. What are your initial impressions of Grime? Do you think it could be classed as a subculture? I definitely think Grime could be classed as a subculture. I personally quite enjoy Grime as a music genre and feel that the whole concept of the subculture is important to pay attention to.

146

BIG IDEA DEVELOPMENT OVERALL BRAINSTORM AND THE Wâ&#x20AC;&#x2122;S

147

KEY WORDS

FREE WRITING

148

REPHRASING KEY PHRASES

GROUP BRAINSTORM

149

SINGLE BRAINSTORM

RANDOM WORD GENERATION

150

PICKING THREE IDEAS

OBLIQUE CARDS FOR EACH

151

IDEA 1 SWOT

PEST

152

IDEA 2

SWOT

PEST

153

IDEA 3

SWOT

PEST

154

MOTIVATING THE CONSUMER

DIGITAL VS PHYSICAL LANDSCAPE

155

SKETCHBOOK PAGES BRAND DEVELOPMENT

156

WGSN COLOUR TRENDS

157

158

CONSUMER DEVELOPMENT

159

160

KEY AESTHETICS

161

162