![]() The representation of women in terms of age and occupation was more stereotypical on men’s channels than on women’s channels, whereas men were represented in more contra-stereotypical ways (e.g., performing household tasks) on women’s channels. Regardless of genre as well as country of origin of the program, women were underrepresented on men’s channels, while gender distribution on women’s channels was more equal. The expectation that men’s channels would portray a less equal and more traditional image of gender than women’s channels was generally supported by the results. To this end, the presence of men and women on two female- and two male-targeted Dutch channels ( N = 115 programs, N = 1091 persons) were compared via content analysis. Grime Kids is not about finger-wagging or preaching but proof that there is still so much rich untapped talent out there and that we shouldn’t let anything get in the way of a good time.The current study investigated the differences in the representation of gender on male- and female-targeted channels with regard to recognition (i.e., the actual presence of men and women) and respect (i.e., the nature of that representation or portrayal). In the present day, we might still struggle with allowing black kids to just be kids, valuing underground music scenes as proper art or embracing black joy on screen as we do black trauma. It’s a show that doesn’t resort to cheap nostalgia but plays with our assumptions about the environment and era that birthed grime. ![]() While a lot has changed, Grime Kids feels as box-fresh and funky as a new pair of Reeboks. As Dane’s nan warns her grandson: “You don’t need to do anything wrong when you look wrong. ![]() Bayo tugs at the heartstrings when he asks if “this is going to be our last summer as kids?”, given that any cursory glance at the news would show that 16-year-old black boys are viewed largely as men and often as threats. The pain and rejection are funnelled into his art, scribbled furiously into bright notebooks, and his moments of triumph are moving and fully earned.īut behind the joy and fun in the scenes of open mics and house parties, there is a gentle tragedy in play – because these young people still view themselves as children, even when the world cannot. His innate coolness fills the screen, but he doesn’t mask the insecurities that plague Kai as he fights a tendency to internalise the way the world, and his own family, view him as good for nothing. Swag aside, he is just as adept at quiet devastation as he is at portraying east London’s hottest new grime star. But it’s Hazzan who distinguishes himself as a true star in the making, pulling off the bright colours and terrible jeans of the time, while rocking a ruby red durag like he’s in the pages of Vogue. Kai is the crew’s secret weapon, with his natural charisma and rap skills shining through, even though his father views him as a grave disappointment. Despite not having been born when flip phones were the height of cool, they take on the language, fashion and swag of the era and never look as if they are cosplaying nostalgia for the pre-social media halcyon days. The entire ensemble’s performances are charming, with a lived-in specificity. ![]() They find strength, joy and support in one another and even though they face a series of rude awakenings, their passion for grime never wavers. Naturally, at that age, friendships can prove just as intense and complicated as romances, and the show treats their bonds as fundamental. They dream of breaking into the music industry, and having the greatest summer of their lives while they’re at it. There is sweet romantic Dane (Yus Jamal Crookes), tech-savvy Bishop (Tienne Simon), warm-hearted but naive Bayo (Juwon Adedokun), pensive Junior (Gabriel Robinson) and prodigal son Kai (Shanu Hazzan), who returns to Tower Hamlets after a few years in Bristol. Set in the early 00s, when grime was emerging, our ensemble look to pirate radio and the underground dance scene as the path to a glittering future. It follows a group of friends fresh from finishing their GCSEs, obsessing over music and having fun while on the brink of manhood. This television version has been written by playwright Theresa Ikoko (best known for co-writing the critically adored teenage-girl drama Rocks). His credentials are rock solid, having been a founding member of the Roll Deep collective, which counted grime icons Wiley, Dizzee Rascal, Tinchy Stryder and Skepta among its members. ![]() The series has been adapted from the grime pioneer and BBC radio presenter DJ Target’s 2018 era-defining book. ![]()
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