Both dancehall and hip-hop tend to favour fashion statements too outlandish or ostentatious for grime, whose monochrome tracksuits celebrate utility over attention. Nevertheless, the antecedent is clear: Run DMC were rocking Adidas tracksuits in the '80s and Boy Better Know's fashion sense is/was a smarter, European-cut reflection of the all-over prints Dipset were famous for in the early noughties. That, or just head to toe in Nike.
And there we have it. Obviously there's an argument for hip-hop's massive influence on grime, but look past the surface to the way the music works, and it becomes clear that Jamaican music lies at the heart of what makes grime tick. Of course, grime's also far more than an English flip on ragga: what would the genre be without Plastician's industrial experiments, DaVinChe's R&B grooves, Youngstar's electronic noise, Royal-T's 2-step bounce and even contemporary efforts by the likes of Mr. Mitch to expand into slower, more emotional territory? Grime's been fighting a battle for respect since day one, and the scene has always had a love-hate relationship with hip-hop's massive international success. But whatever its chart fortunes, the genre can stand tall with pride as its very own 'ting.