i realize violence is far, far more prevalent in grime, but still hyperbole/braggadocio is a big part of the culture. rusko & caspa's dubstep nights are quite safe, but why wouldn't a small part of the machismo in their songs be rooted in hooligan culture/whatever you wanna call it - again, see the anecdote about caspa's idea of a perfect night being one where he gets into a good fight. seems like the difference is one of (massive) degree, hence why i think there's a double standard in the way people judge one scene's signifiers vs. another's.
Well perhaps it is a double standard, I can't find a way to argue that if he is indeed a product of hooligan culture* why it would be any less wrong to bring the aesthetic of that culture into his music. It just seems to me, when grime artists synthesize their hostile environments into grime music it becomes intrinsic to its form in a good way. Grime as a result is heavily competitive, kinetic, and gladiatorial; it turns the survival-of-the-fittest aspect of estate life into something that is both cathartic and that positively informs the music. Of course, this isn't always the case when you get things like the Tempa T/Nasty conflict or Crazy Titch's conviction for murder - which were likely spurred by lyrics - but this is an exception to the rule. Caspa's yobstep, whether from a true yob or not, is simply a celebration of the lowest possible form of British culture and as a result it informs his brand of dubstep by giving it the qualities of huffing a lot of glue and breaking your nose over your Fred Perry.
So it's a matter of taste at the end of the day I guess.
* I would put money on that he isn't, judging by his fanboyish creation of a cockney asthetic using guy ritchie movies as fodder and by his mate rusko, who I've met, and is a cringy trustafarian. Shoddy evidence perhaps, but this is, after all, a bet.