The working-class dynamic of ‘do it yourself’ or D.I.Y, formulated throughout Punk, is coherently obvious in the Grime scene. Although the D.I.Y aspect of Grime may be more technologically advanced ranging from early Pirate radio to the now polished SBTV, one may argue these feats would be impossible without Punk’s examples of D.I.Y clothes, music videos and fanzines.
Time and place within subcultural movements has always played an important role. Both Punk and Grime have been branded as ‘inevitable’ in many ways. Johnny Rotten expressed ‘the need’ for a movement like Punk in 1976, in the same way second wave Grime pioneers such as Skepta have in their own genre. In comparison to Punk, the notion of live performance has been saturated through Grime. However, advances in technology give Grime a completely global audience which many Punk artists would envy. As a result, the progression of time has enabled a new social-media based platform for the modern-day music. Whether this demeans the message that Grime possesses is up for debate. Although this may be the case parallels can still be drawn with the Punk scene which, by its initial death in 1978, had amassed a following of ‘copy-cat’ art students