“part of the collective swagger of a scene that’s on the up and brimming with confidence is having a name and using it”: on the other hand knowing something’s name = having power over it, including commercial power. A scene-name can be exploited by outsiders as easily as insiders. I saw £5.99 CDs in Tesco’s in 1995 promising me “hardcore jungle beats” (all 10 tracks by the same unknown bloke). The second “rock’n’roll” No.1 in this country was Kay Starr’s cash-in “Rock’n’Roll Waltz”. And so on. Fixing on a name has big financial implications in the way the industry treats the music, who gets paid and who doesn’t. (Anyway in the case of grime (or ‘grime’) the nameclashes seem to me part and parcel of the competitive, conflict-driven nature of the scene/sound.)