My first recollections of the grime scene are around 18 years ago, in 1997, when acts like Wiley used to jump on the mic mc'ing on jungle tracks, on pirate radio. He then set up a music click called Pay as U Go Cartel. A few years later in 2001, Pay as U Go released a single called Champagne Dance that had the capitals urban nightclubs jumping.
For now, there is still progress to be made. We want many more businesses to join the move to creating an enhanced contract with society and harness the influence and reach of their businesses to tackle key issues. In return businesses will unlock innovation, growth and long term opportunities. It's a win-win and it's time that every business recognised this.
We sing to, dance with and buy music because it matters to us. It matters usually because of how it makes us feel, but also who it connects us with, what tribes it creates. That interconnection both within us and between us is irresistible, I suspect increasingly, because just as more of life is becoming virtual, music can't not remain real.
Fifty one years ago, Blowin' In The Wind was adopted as some kind of clarion call for an energetic, shackled and questioning youth to stop relying on their elders for answers, to open their eyes to the unfairness around them, to strive to find a different path at the end of which truths would miraculously materialise.
The lure of the filthy lucre is strong in the upper echelons of the classical music industry. Dangled before genius, the contract that promises to make musicians rich can unmoor and pollute. But only if caution is not exercised. Money, in this respect, can be poisonous, and Nicola Benedetti agrees...
So here we are, August 2013, slap bang in the middle of BBC Proms territory. Whilst the Royal Albert Hall in West London plays host to the biggest names in classical music, the British Film Institute in South London shows the screening of series 2, show 1 of Top Boy- Channel 4's gritty drama about inner city street life.