A brief history of grime

WORLD MUSIC COLUMN

While many would argue 

that grime’s best days were 
more than a decade ago, the 
resurgence of its popularity 
and quality begs to differ. 
True, legends such as Dizzee 
Rascal took long (and rather 
embarrassing) 
digressions 

into pop territory, but both 
old 
and 
new 
artists have 

revived the genre. Perhaps 
more importantly, it has grown 
from London and the UK to 
new markets abroad. Figures 
like Skepta and Giggs have 
found themselves remixed by 
pop stars like Drake and even 
featured on albums by rappers 
like A$AP Rocky.

Purists may bemoan the 

growing influence of American 
hip hop on the scene as a 
whole, but while it is true 
that genre distinctions have 
been blurring, the culture’s 
main 
distinctions 
remain 

prevalent. Skepta’s 2016 album 
Konnichiwa is a prime example 
of grime mixed with more 
pop tendencies. Songs such 
as “Man” and “Shutdown” 
permeated 
the 
mainstream 

charts in the UK and abroad, 
and have contributed to the 
genre’s newfound popularity. 
Others 
such 
as 
Dave, 
AJ 

Tracey (featured together in 
the marvelous “Thiago Silva”) 
and Stormzy have become 
major cultural figures in the 
UK and beyond. While their 
works 
don’t 
quite 
feature 

the level of intensity that is 
familiar to older fans of grime, 
the influence of the genre on 
their work is undeniable. In 
addition to the new bloods, 

stalwarts such as Wiley have 
released critically-acclaimed, 
more reflective albums with 
tracks that will surely become 
future 
classics. 
Old 
feuds 

have been resolved and now 

lay the ground for exciting 
collaborations 
and 
new, 

talented producers have added 
some 
needed 
variety 
and 

creativity.

What may be the biggest 

obstacle in the preservation of 
classic grime culture is the fact 
that it is not entirely an album-
oriented genre that lends well 
to streaming services. Grime’s 
best 
moments 
occurred 
in 

events such as radio mixes, 
where MC’s alternate nonstop 
for hours over a mix of classic 
instrumentals. 
Its 
feuds 

and stylistic transitions are 
labyrinthine in nature and 
hard 
to 
appreciate 
simply 

by listening to playlists of 
selected 
tracks. 
Moreover, 

the genre is borrowing more 
from American hip hop trends, 
including 
trap-style 
beats 

instead of the reggae, ragga 
and garage style beats of old.

Nonetheless, 
grime 
is 

alive and well, and the fact 
that it hasn’t taken over the 
world yet might be one of its 
appealing qualities. The genre 
is unapologetically urban and 
British, a niche subculture 
in the sea of musical styles 
that float around the world, 
co-opted by groups of all 
creed and color. Just as it 
may be difficult to completely 
appreciate a Pakistani qawwali 
tune or a French chanson, it 
may be difficult to appreciate 
the sheer complexity of the 
history of grime. However, it 
can’t stop you from enjoying 
the energy and fun that it 
brings.

SAYAN GHOSH

Daily World Music Columnist

What may 

be the biggest 

obstacle in the 

preservation of 

classic grime 

culture is the 

fact that it is 

not entirely 

an album-

oriented genre 

that lends well 

to streaming 

services

The world’s longest recorded 

table tennis rally happened 
on Mar. 23, 2014. Daniel and 
Peter Ives kept their volley 
alive for a total of eight hours, 
40 minutes and five seconds at 
the Plumstead Radical Working 
Men’s Club in London. The ball 
lofted back and forth, back and 
forth — an affirmative ping to 
answer each curious pong.

To 
achieve 
the 
volley’s 

remarkable longevity, the Ives 
brothers had to be on the same 
wavelength, reciprocating each 
other’s 
calm 
and 
collected 

manner as they approached the 
world record. 

In a similar fashion to the 

professional 
table 
tennis 

players, the Sklar Brothers 
were on the same comedic 
wavelength 
during 
their 

show this past Friday. Randy 
and Jason Sklar exercised an 
identical rhythm to that of 
Daniel and Peter Ives, only in 
the context of stand-up comedy.

The 
twins 
returned 
to 

Ann Arbor, their old college 

stomping ground, this weekend 
in a homecoming performance 

at the Ann Arbor Comedy 
Showcase.

I arrived early to the 10:30 

p.m. 
performance 
in 
the 

classic basement club and 
was seated spitting-distance 
from the microphones. The 
brothers met a welcoming 
round of applause as they took 
the stage and opened with 
a 
funny-because-it’s-true 

jab at Ann Arbor’s ceaseless 
construction. The rest of the 
show contained a blend of 
jokes written for parents and 
jokes written for Democrats 
(the Sklar Brothers knew 
their audience). 

That said, the material 

was sophisticated enough to 
earn the label of well-crafted 
comedy without being distant 
from the intended audience 
of graduated Ann Arborites. 
Even though I do not fit the 
profile of a graduated Ann 
Arborite parent, I still found 
myself laughing with every 
punchline, delivered like a 
volley-return.

After 
graduating 
from 

the University in 1994, the 

Sklar 
Brothers 
moved 
to 

New York to begin their 
successful comedy careers, 
making 
appearances 
on 

shows such as HBO’s “Curb 
Your Enthusiasm,” “Law and 
Order,” 
“Grey’s 
Anatomy,” 

FX’s “It’s Always Sunny in 
Philadelphia” and their series 
on the History Channel, “The 
United States of America.”

The duo act in stand-up 

comedy is a bold one, yet 
the Sklar Brothers exceeded 
expectations with a masterful 
cadence and a satisfying flow 
to each bit.

As a duo act, two comedians 

must devote extra time and 
effort 
to 
the 
coordination, 

collaboration and choreography 
of any given set. The Sklar 
Brothers are no exception to 
this added challenge, but the 
two were able to deliver their 
material in a manner that 
showed preparedness and deep 
knowledge of the set without 
seeming too rehearsed. Each 
joke was a satisfying blend 
between the two comedians, 
as 
though 
they 
were 

having a normal (hilarious) 
conversation.

Watching 
the 
Sklar 

Brothers 
is 
like 
watching 

two professional table tennis 
players keep a casual volley 
going for the fun of it. I mean 
that in the best way possible 
— these are truly talented 
performers with the comedic 
equivalent of the table tennis 
expertise displayed by Daniel 
and Peter Ives. If my Friday 
night could consist of watching 
the Sklar Brothers play comedic 
ping-pong for eight hours, 40 
minutes and five seconds, I 
would consider that a Friday 
night well-spent.

Sklar Brothers return to Ann Arbor with comedy

COMMUNITY CULTURE REVIEW

ZACHARY M.S. WAARALA

For the Daily

The duo act 

in stand-up 

comedy is a bold 

one, yet the 

Sklar Brothers 

exceeded 

expectations 

with a masterful 

cadence and a 

satisfying flow 

to each bit

BOY BETTER KNOW

WIKIMEDIA COMMONS

6A — Monday, September 24, 2018
Arts
The Michigan Daily — michigandaily.com

