Siren

Mythology	Greek
Grouping	Mythological
Sub-grouping	Avian hybrid
Habitat	Seagirt meadow
Similar creatures	Mermaid Merman Ondine

In Greek mythology, the Sirens (Greek singular: Σειρήν Seirēn; Greek plural: Σειρῆνες Seirēnes) were dangerous creatures, portrayed as femmes fatales who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. Roman poets placed them on some small islands called Sirenum scopuli. In some later, rationalized traditions, the literal geography of the "flowery" island of Anthemoessa, or Anthemusa,^[1] is fixed: sometimes on Cape Pelorum and at others in the islands known as the Sirenuse, near Paestum, or in Capreae.^[2] All such locations were surrounded by cliffs and rocks.

When the Sirens were given a name of their own they were considered the daughters of the river god Achelous, fathered upon Terpsichore, Melpomene, Sterope, or Chthon (the Earth; in Euripides' Helen 167, Helen in her anguish calls upon "Winged maidens, daughters of the Earth"). Although they lured mariners, for the Greeks the Sirens in their "meadow starred with flowers" were not sea deities. Roman writers linked the Sirens more closely to the sea, as daughters of Phorcys.^[3] Sirens are found in many Greek stories, particularly in Homer's The Iliad.

Their number is variously reported as between two and five. In the Odyssey, Homer says nothing of their origin or names, but gives the number of the Sirens as two.^[4] Later writers mention both their names and number: some state that there were three, Peisinoe, Aglaope, and Thelxiepeia (Tzetzes, ad Lycophron 7l2) or Parthenope, Ligeia, and Leucosia (Eustathius, loc. cit.; Strabo v. §246, 252 ; Servius' commentary on Virgil's Georgics iv. 562); Eustathius (Commentaries §1709) states that they were two, Aglaopheme and Thelxiepeia. Their individual names are variously rendered in the later sources as Thelxiepeia/Thelxiope/Thelxinoe, Molpe, Aglaophonos/Aglaope/Aglaopheme, Pisinoe/Peisinoë/Peisithoe, Parthenope, Ligeia, Leucosia, Raidne, and Teles.^{[5][6][7][8][9]}

The Sirens of Greek mythology are sometimes portrayed in later folklore as fully aquatic and mermaid-like; the fact that in Spanish, French, Italian, Polish, Romanian and Portuguese the word for mermaid is respectively Sirena, Sirène, Sirena, Syrena, Sirenă and Sereia, and that in biology the Sirenia comprise an order of fully aquatic mammals that includes the dugong and manatee, add to the visual confusion, so that Sirens are even represented as mermaids. However, "the sirens, though they sing to mariners, are not sea-maidens," Jane Ellen Harrison has cautioned; "they dwell on an island in a flowery meadow."^[10]

Sirens and death[link]

The Siren, by John William Waterhouse (circa 1900), depicted as a fish-chimera.

According to Ovid (Metamorphoses V, 551), the Sirens were the companions of young Persephone and were given wings by Demeter^[11] to search for Persephone when she was abducted. However, the Fabulae of Hyginus has Demeter cursing the Sirens for failing to intervene in the abduction of Persephone.

The Sirens might be called the Muses of the lower world, Walter Copland Perry observed: "Their song, though irresistibly sweet, was no less sad than sweet, and lapped both body and soul in a fatal lethargy, the forerunner of death and corruption."^[12] Their song is continually calling on Persephone. The term "siren song" refers to an appeal that is hard to resist but that, if heeded, will lead to a bad result. Later writers have inferred that the Sirens were anthropophagous, based on Circe's description of them "lolling there in their meadow, round them heaps of corpses rotting away, rags of skin shriveling on their bones."^[13] As Jane Ellen Harrison notes of "The Ker as siren:" "It is strange and beautiful that Homer should make the Sirens appeal to the spirit, not to the flesh."^[14] For the matter of the siren song is a promise to Odysseus of mantic truths; with a false promise that he will live to tell them, they sing,

Once he hears to his heart's content, sails on, a wiser man.
We know all the pains that the Greeks and Trojans once endured
on the spreading plain of Troy when the gods willed it so—
all that comes to pass on the fertile earth, we know it all!^[15]

"They are mantic creatures like the Sphinx with whom they have much in common, knowing both the past and the future," Harrison observed. "Their song takes effect at midday, in a windless calm. The end of that song is death."^[16] That the sailors' flesh is rotting away, though, would suggest it has not been eaten. It has been suggested that, with their feathers stolen, their divine nature kept them alive, but unable to feed for their visitors, who starved to death by refusing to leave.^[17]

According to Hyginus, sirens were fated to live only until the mortals who heard their songs were able to pass by them.^[18]

Appearance[link]

Roman mosaic: Odysseus and the Sirens (Bardo National Museum)

Sirens combine women and birds in various ways. In early Greek art Sirens were represented as birds with large women's heads, bird feathers and scaly feet. Later, they were represented as female figures with the legs of birds, with or without wings, playing a variety of musical instruments, especially harps. The tenth century Byzantine encyclopedia Suda^[19] says that from their chests up Sirens had the form of sparrows, below they were women, or, alternatively, that they were little birds with women's faces. Birds were chosen because of their beautiful voices. Later Sirens were sometimes depicted as beautiful women, whose bodies, not only their voices, are seductive.

The first century Roman historian Pliny the Elder discounted Sirens as pure fable, "although Dinon, the father of Clearchus, a celebrated writer, asserts that they exist in India, and that they charm men by their song, and, having first lulled them to sleep, tear them to pieces."^[20] In his notebooks Leonardo da Vinci wrote of the Siren, "The siren sings so sweetly that she lulls the mariners to sleep; then she climbs upon the ships and kills the sleeping mariners."

In 1917, Franz Kafka wrote in The Silence of the Sirens, "Now the Sirens have a still more fatal weapon than their song, namely their silence. And though admittedly such a thing never happened, it is still conceivable that someone might possibly have escaped from their singing; but from their silence certainly never."

The so-called "Siren of Canosa"^[21] accompanied the deceased among grave goods in a burial and seems to have some psychopomp characteristics, guiding the dead on the after-life journey. The cast terracotta figure bears traces of its original white pigment. The woman bears the feet and the wings and tail of a bird. It is conserved in the National Archaeological Museum of Spain, in Madrid.^[22]

Encounters with the Sirens[link]

Odysseus and the Sirens, eponymous vase of the Siren Painter, ca. 480-470 BC, (British Museum)

In Argonautica (4.891–919), Jason had been warned by Chiron that Orpheus would be necessary in his journey. When Orpheus heard their voices, he drew out his lyre and played his music more beautifully than they, drowning out their voices. One of the crew, however, the sharp-eared hero Butes, heard the song and leapt into the sea, but he was caught up and carried safely away by the goddess Aphrodite.

Odysseus was curious as to what the Sirens sung in their song to him, so, on Circe's advice, he had all his sailors plug their ears with beeswax and tie him to the mast. He ordered his men to leave him tied tightly to the mast, no matter how much he would beg. When he heard their beautiful song, he ordered the sailors to untie him but they bound him tighter. When they had passed out of earshot, Odysseus demonstrated with his frowns to be released.^[23]

Some post-Homeric authors state that the Sirens were fated to die if someone heard their singing and escaped them, and that after Odysseus passed by they therefore flung themselves into the water and perished.^[24] It is also said that Hera, queen of the gods, persuaded the Sirens to enter a singing contest with the Muses. The Muses won the competition and then plucked out all of the Sirens' feathers and made crowns out of them.^[25] Out of their anguish from losing the competition, writes Stephanus of Byzantium, the Sirens turned white and fell into the sea at Aptera ("featherless") where they formed the islands in the bay that were called Souda (modern Lefkai).^[26]

Christian belief[link]

The "Siren" of Canosa

By the fourth century, when pagan beliefs gave way to Christianity, belief in literal sirens was discouraged. Although Jerome, who produced the Latin Vulgate version of the Scriptures, used the word "sirens" to translate Hebrew tenim (jackals) in Isaiah 13:22, and also to translate a word for "owls" in Jeremiah 50:39, this was explained by Ambrose to be a mere symbol or allegory for worldly temptations, and not an endorsement of the Greek myth.^[27]

Sirens continued to be used as a symbol for the dangerous temptation embodied by women regularly throughout Christian art of the medieval era; however, in the 17th century, some Jesuit writers began to assert their actual existence, including Cornelius a Lapide, who said of Woman, "her glance is that of the fabled basilisk, her voice a siren's voice—with her voice she enchants, with her beauty she deprives of reason—voice and sight alike deal destruction and death."^[28] Antonio de Lorea also argued for their existence, and Athanasius Kircher argued that compartments must have been built for them aboard Noah's Ark.^[29]

The Early Christian euhemerist interpretation of mythologized human beings received a long-lasting boost from Isidore's Etymologiae.^[30] "They [the Greeks] imagine that 'there were three Sirens, part virgins, part birds,' with wings and claws. 'One of them sang, another played the flute, the third the lyre. They drew sailors, decoyed by song, to shipwreck. According to the truth, however, they were prostitutes who led travelers down to poverty and were said to impose shipwreck on them.' They had wings and claws because Love flies and wounds. They are said to have stayed in the waves because a wave created Venus."

Odysseus and the Sirens. An 1891 painting by John William Waterhouse.

Charles Burney expounded c. 1789, in A General History of Music: "The name, according to Bochart, who derives it from the Phoenician, implies a songstress. Hence it is probable, that in ancient times there may have been excellent singers, but of corrupt morals, on the coast of Sicily, who by seducing voyagers, gave rise to this fable."^[31] John Lemprière in his Classical Dictionary (1827) wrote, "Some suppose that the Sirens were a number of lascivious women in Sicily, who prostituted themselves to strangers, and made them forget their pursuits while drowned in unlawful pleasures. The etymology of Bochart, who deduces the name from a Phoenician term denoting a songstress, favours the explanation given of the fable by Damm.^[32] This distinguished critic makes the Sirens to have been excellent singers, and divesting the fables respecting them of all their terrific features, he supposes that by the charms of music and song they detained travellers, and made them altogether forgetful of their native land."^[33]

Such euhemerist interpretations have been abandoned since the later 19th century, in favour of analyses of Greek mythology in terms of historical Greek social structure and their cultural system, and the Greek taxonomy of the spiritual world.^{[citation needed]}

In the Book of Watchers 19:2-3, supposedly authored by Enoch, great-grandfather of Noah, the women taken as wives by the Grigori of angels became sirens.^[34]

See also[link]

• Alkonost
• Harpy
• Huldra
• List of avian humanoids
• Lorelei, an area of the Rhine River where fishermen were drawn to their doom by enchanting songs and music
• Melusine
• Mermaid
• Merrow
• Moura Encantada
• Naiad
• Nix
• Nymph
• Ondine
• Pincoya
• Rusalka
• Selkie
• Sihuanaba
• Sirin
• Slavic fairies
• Syrenka, the Coat of Arms of Warsaw
• Trauco
• Warsaw Siren
• Water sprite

References[link]

Bibliography[link]

• Harrison, Jane Ellen (1922) (3rd ed.) Prolegomena to the Study of Greek Religion. London: C.J. Clay and Sons.
• Homer, The Odyssey
• Lemprière, John (1827) (6th ed.). A Classical Dictionary;.... New York: Evert Duyckinck, Collins & Co., Collins & Hannay, G. & C. Carvill, and O. A. Roorbach.

Further reading[link]

• Siegfried de Rachewiltz, De Sirenibus: An Inquiry into Sirens from Homer to Shakespeare, 1987: chs: "Some notes on posthomeric sirens; Christian sirens; Boccaccio's siren and her legacy; The Sirens' mirror; The siren as emblem the emblem as siren; Shakespeare's siren tears; brief survey of siren scholarship; the siren in folklore; bibliography"

External links[link]

Wikimedia Commons has media related to: Sirens

• Theoi Project, Seirenes the Sirens in classical literature and art
• The Suda (Byzantine Encyclopedia) on the Sirens

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Dizzee Rascal
Background information
Birth name	Dylan Kwabena Mills[1]
Also known as	Dizzee Rascal, Raskit
Born	(1984-09-18) 18 September 1984 (age 27)[2]
Origin	Bow, East London, England[3]
Genres	Grime, house, hip hop
Occupations	Rapper, record producer, songwriter, singer
Years active	2000–present
Labels	XL Recordings (2003–2007) Dirtee Stank (2003 – present) Island Records (2011–present)
Associated acts	Newham Generals, Calvin Harris, Roll Deep, Wiley, Tinchy Stryder, Shirley Bassey, Arctic Monkeys, Guthrie Govan, Shakira, Basement Jaxx, DJ Fresh.
Website	dizzeerascal.co.uk

Dylan Kwabena Mills (born 18 September 1984), better known by his stage name Dizzee Rascal, is a UK and US-based rapper, songwriter and record producer of Ghanaian and Nigerian descent.^[4] His music is a blend of garage, hip hop, grime, ragga, pop and electronic music, with eclectic samples and more exotic styles. Best known for his number-one hits "Dance wiv Me", "Bonkers", "Holiday", "Dirtee Disco" & "Shout", his debut album, Boy in da Corner, won him the 2003 Mercury Prize. Follow-up albums Showtime, Maths + English and Tongue n' Cheek have all been critically acclaimed and certified gold, the last going platinum for sales exceeding 300,000 units.

Early life[link]

Mills' Nigerian father died when he was young, and he was raised in Bow, in the East End of London in a single-parent family by his Ghanaian mother Priscilla, about whom he says: "I had issues as a kid. I was violent and disruptive. The way my mum helped was by finding me a different school every time I got kicked out, always fighting to keep me in the school system" he attended St Pauls Way Community School.^[5][6][7]

He attended a series of schools in East London, and was expelled from four of them – it was a teacher who first called him "Rascal".^[8] Cagey about exactly what Mills' youthful "madnesses" entailed, in early interviews he mentioned fighting with teachers, stealing cars and robbing pizza delivery men.^[7] In the fifth school he was excluded from all classes except music.^[8] He also used to attend YATI (Young Actors Theatre Islington)^[7]

He began making music on the school's computer, encouraged by a music teacher, Mr Smith,^[7] and during the summer holidays attended a music workshop organised by Tower Hamlets Summer University^[6][9] of which he is now a patron.^[6] His mother bought him his first turntables.

He was a childhood friend of Nigerian footballer Danny Shittu, whom Mills described as 'like a big brother'.^[10]

Music and style[link]

Dizzee Rascal once told author Ben Thompson in an interview with the Sunday's Observer magazine that “everything I do is for the music – I want to master it like Bruce Lee mastered martial arts."^[11]

His music is a mixture of UK Garage and hip-hop beats with an extremely broad palette of influences, ranging from metal guitars to drill and bass synth lines, eclectic samples and even Japanese court music.^[11] Dizzee Rascal also makes extensive use of un-coupled octuplets and double and triple couplets in his machine-gun-paced staccato lyrics. Like most grime artists, he uses "beats born of ringtones, video games and staticky pirate-radio sounds"^[12] Dizzee's tracks are traditional grime in that the beats are often asymmetrical and make it difficult to dance to his music. His vocal performance is also distinctive; he uses a fast style of rapping which blends elements from garage MCing, conventional rap, grime and ragga. He raps about the same issues a confused generation of youth tends to; broken family, faithless mentors and a lack of support.^[13] Dizzee's videos are similar to many grime and garage artists in the UK. They are frenetic and fast, often matching the speed of the rapping; this is especially visible in the videos to "Fix Up, Look Sharp" and "I Luv U". Although his fast style of rapping and his subject matter are nothing more than ordinary in the UK, Dizzee Rascal's diversity nonetheless separates him from other UK rappers. In his song "Brand New Day", Dizzee Rascal used "flat, punching out riddims into cheap PC software, beats born of ringtones, video games, and staticky pirate-radio sounds".^[13] He is able to change his sound of music completely, by using a different processor. In "Jus' a Rascal", he uses "T.O.K.'s hysterical dancehall harmonies, a synthesised guitar line halfway between death metal and English Beat, stuttering Southern hi-hats and a kick drum retarded to a crawl".^[13]

Dizzee Rascal worked closely with his mentor Wiley, who created one of the first grime tracks, called "Eskimo".^[14] Grime is today still considered underground, despite Dizzee's large mainstream exposure.^[14] Dizzee's DJ, DJ Semtex, says, "the biggest conflict I have is with major labels because they still don’t get it."^[15] Andy Bennett and Jon Stratton highlight in the book Britpop and the English Music Tradition (2010) how Rascal alongside Sway and M.I.A. created music that explored new soundscapes with new technologies, with lyrics expressing anger at Britain's "racialized" subordination of minority groups and that the innovation that generates new musical forms like grime and dubstep that are, inevitably, politically engaged. The chart success of grime-influenced artists like Rascal is heralded as a signal in the way that white Britons are adapting to a new multicultural and plural musical mix in contrast to previous bands.^[16]

Career[link]

Experimenting with his decks and styles, he became an amateur DJ, making occasional appearances on a local pirate radio station. Aged 16, he self-produced his first single, "I Luv U".^[8] In 2002, he jointly formed the Roll Deep Crew, a 13-piece garage collective, with former school friends. Signed by the XL record label, he signed an additional solo deal.^[17]

During his early career, Dizzee worked with his mentor Wiley to create the song 'We Ain't Having It' (which never got released on any albums) and also rapped on some 'Sidewinder' recordings. He made some instrumentals including 'Go' and 'Ho' and 'Streetfighter' which used some music from a video game. Dizzee had beef with fellow grime MC, Crazy Titch, which never really came to an official end. Titch however is now serving life for murder.

After winning a Sidewinder Award for Best Newcomer MC in 2002, in June 2003 the re-recorded and re-produced by Jacob Freitt single I Luv U was released, becoming a Top 30 hit single.

Dizzee was a judge in the Sky1 show Must Be The Music.^[18]

[edit] 2003–2004: Boy in da Corner

Dizzee's first solo album, Boy in da Corner, was released to universal critical acclaim in August 2003, entering the UK Top 40 at #40. The album would peak at #23. In the same week the album was released, while performing with Roll Deep Crew, the rapper was stabbed six times in Ayia Napa.^[3][17] Many tabloids suggested that this event was connected to an apparent feud between Dizzee and garage act So Solid Crew, and his pinching Lisa Maffia's bottom.^[7] After Dizzee was hospitalised, So Solid Crew member "Megaman" – real name Dwayne Vincent – was later questioned about the incident, but was immediately released by Cypriot police.^[19]

	Sittin' here noicon Sample of "Sittin' here".
Problems listening to this file? See media help.

Following the success of single "I Luv U" and the album, the second single from Boy in da Corner was "Fix Up, Look Sharp". The single, released in August 2003, gave Dizzee his first UK Top 20 single and also became the biggest hit from his debut album. In September, Dizzee was awarded the prestigious Mercury Prize for the best album of 2003.^[3] He was the youngest person (at 19) to do so and the second rapper (after Ms. Dynamite the previous year). The album was also chosen as the No. 1 album of the year by Planet Sound.

Along with being picked as the No. 1 album of the year by Planet Sound, Boy in da Corner was also chosen as one of the top 50 albums of the year by Rolling Stone, joining the likes of Kanye West, Mos Def, Eminem, and Jadakiss for 2004.^[20] His unique style, as "words pour out at a high pitch and pace, as if syllables are the only thing that can hold back a scream," have given him a sound that hip hop heads can embrace as something new and original in the hip hop scene.^[12] Later in the year he collaborated with the Basement Jaxx on their third album, Kish Kash on the track "Lucky Star". The track was released as a single in November 2003 and gave Dizzee his third top 30 hit. The third and final single, taken from his debut album, was "Jus' a Rascal", which became his fourth top 30 success. The song was also featured in the film "Kidulthood", released in 2006.

"Jezebel" was never released from the album, but was well received nonetheless, gaining exposure and popularity on the underground scene. The song told the tale of a young London girl, who through years of going to parties, getting drunk, doing drugs and having sex earned herself the title Jezebel. He made his US concert debut on 7 February 2004 at Volume in the Williamsburg section of Brooklyn, New York.

[edit] 2004–2007: Showtime

In 2004, Dizzee Rascal won the NME Award for Innovation. His second album, Showtime, was released in September of the same year, eclipsing the peak of his debut album by entering the UK Albums Chart at #8. The first single from the album, released two weeks earlier in August 2004, was titled Stand Up Tall; it was written and produced by grime producer DJ Youngstar of Pulse-X notoriety.^[21]

The second single "Dream", another top 20 hit, was released in November 2004. It sampled (and used the chorus of) Captain Sensible's song "Happy Talk", originally from the makers of Rodgers and Hammerstein musical, South Pacific. The "Dream" music video consisted of a mock 1950s style children's marionette show depicting scenes corresponding to the lyrics about Dizzee's youth; street culture, crime, single teenage mothers, pirate radio and garage clubs.

Later in 2004, Dizzee Rascal was part of Band Aid 20, a group of British musicians who re-recorded "Do They Know It's Christmas?" He did not sing in the song; rather, he rapped two lines of it ("Spare a thought this yuletide for the deprived, if the table was turned would you survive?" and "You ain't gotta feel guilt just selfless, give a little help to the helpless"). Dizzee Rascal was the first person to add to the song since the original was released; this would mark the first time that Dizzee reached the number one spot in the UK Singles Chart, albeit as part of the ensemble.

In 2004, Dizzee Rascal made an international endorsement deal with urban brand Eckō and designed his own shoe with Nike in 2005.^[3]

In March 2005, the Double A-side single "Off 2 Work" / "Graftin'" was released. "Graftin'" was the third and final single from the Showtime album, whilst "Off 2 Work" was a new track that did not appear on either of his albums. The accompanying music video featured Rascal in various ordinary workplace situations (as a policeman, a fast food vendor, a businessman, etc.) and as Prime Minister, announcing his engagement to Cherie Blair. It would prove to be Dizzee's lowest charting single to date, peaking outside the Top 40 at #44.

[edit] 2007–2009: Maths + English

Dizzee's third album, Maths + English, was released on 4 June 2007. He stated in an interview before the album's release that "Maths" refers to producing, in terms of beats, deals and money^[22] and "English" to writing lyrics.^[23] The first single off this album, Sirens, was released on 21 May.

The album was one of the 12 nominees for the 2007 Mercury Prize, which ultimately went to The Klaxons' album Myths of the Near Future.^[24] During the year, Dizzee worked with cross-genre artist Beck on a remix of the song "Hell Yes", and provided guest vocals on an Arctic Monkeys track, the B-Side to their single "Brianstorm" named "Temptation Greets You Like Your Naughty Friend". Dizzee's version of the same song was featured as "Temptation" on his third album.

The official US album was released on 29 April 2008; it contained two tracks not on the European release, but it did not include the track "Pussyole'". It was Dizzee's first album to be released under the Definitive Jux label.^[25]

In 2008, Dizzee Rascal recorded a song for suicide charity CALM; the song "Dean" was about a friend of Dizzee's who took his own life. In December of that year, he was arrested following an alleged incident involving a baseball bat in southeast London. He was released on bail to return to a police station later in December.^[26]

[edit] 2009–2012: Tongue N' Cheek

Dizzee Rascal performing at the 2009 Ilosaarirock festival.

Dizzee Rascal released his fourth studio album, Tongue N' Cheek, on 21 September 2009. It included his four number-one hits "Dance Wiv Me", "Holiday", "Bonkers" (with Armand Van Helden) and "Dirtee Disco". Its release was announced on Friday Night with Jonathan Ross, where Dizzee Rascal revealed some details about the album, including track information and production. Dizzee recently confirmed in an interview on Radio One, that he would be leaving his grime roots behind, in favour of more mainstream pop; however a new collaboration with drum and bass artists "Chase & Status" titled, "Heavy" begs to differ. In the track Dizzee himself says, "Grime had a little time without me still no grime without me, No life without me, no risky roads, no grime daily" assuring his return to grime. On 23 May 2008, Calvin Harris, whom he collaborated with on the number-one smash "Dance Wiv Me", revealed on his Twitter that he was producing a Dizzee track; at the Evolution Festival, Newcastle, and when on tour supporting The Prodigy, he confirmed that two new singles called "Road Rage" and "Dirtee Cash", both of which featured on the album, would be released. "Dirtee Cash" peaked at No. 10 and Road Rage was never released as a single.

On 16 February at the 30th annual Brit Awards Dizzee Rascal won the award for Best British Male. He later performed a mash-up entitled "You Got the Dirtee Love" with Florence and the Machine. This collaboration was released as a charity single the following day and peaked at number 2 in the UK charts.

On 31 May 2010 Dizzee re-released the album Tongue N' Cheek with a few new tracks on including a song called "Dirtee Disco" which was released on 24 May 2010. The track went to number 1 on the UK Singles Chart

In August 2010, it was revealed that he was to collaborate with Colombian popstar Shakira on the English version of "Loca", the lead single of her album Sale el Sol. He stated that "I know it sounds a bit mad now, but you'll see it and see what's going on, it's me doing something different man, on a merengue tip."^[27] On the week of 14 October 2010, Dizzee made his first appearance on the US Billboard Hot 100 after the song peaked number 32. However, The UK release was cancelled.

On 6 February 2011, it was announced Dizzee would support the Red Hot Chili Peppers at their Knebworth House show in the Summer.^[28]

[edit] 2012–present: DirteeTV.com and Fifth studio album

On New Year's Day 2012, Dizzee Rascal released DirteeTV.com alongside the Newham Generals, D Double E and Footsie. The 25-track mixtape was released as a free download, and included features from fellow rappers JME, Kano, Scrufizzer, Example, Rapid, Chronik, Hyper and Smurfie Syco. The mixtape featured tracks by Rascal both new and old.

Dizzee Rascal has signed a deal that will see him release his fifth studio album on Island Records. When speaking on the record he was quoted saying that he has "no plans" to ditch his commercial music. He described the sound as "worldly but fun". He also confirmed he is in talks with Calvin Harris to collaborate again. He is also expected to have a collaboration with Snoop Dogg on either his new album or Snoop Dogg's new album 'Reincarnated'.^[29] He has also stated he has a track produced by house DJ Erick Morillo and has also worked on tracks with Drum & Bass and Dubstep producer DJ Fresh for his own album. Their first collaboration The Power is set to be the third single from Fresh's third studio album, released in September 2012.

Personal life[link]

In February 2008 Rascal's ex girlfriend, model Kaya Bousquet, whom he had dated for two years, died in a high speed crash on the M1 motorway; Dizzee was said to be "devastated".^[30][31]

Rascal revealed in 2010 that he plans not to use drugs or alcohol at all in the future. He told The Independent: "I'm not having any alcohol. No weed. I'm not doing anything – except some boxing to release energy."^[32]

Mills supports West Ham United.^[33]

Politics[link]

Around 2004, UK newspapers were quoting one particular lyric by Dizzee Rascal – "I'm a problem for Anthony Blair".^[13]

During the 2008 US presidential elections, Dizzee gave a live interview to Newsnight presenter Jeremy Paxman, in which he described Barack Obama as "an immediate symbol of unity". Addressed by Paxman as "Mr Rascal" at one point, he suggested that hip-hop played an important part in encouraging young voters and humorously opined that he could well one day become Prime Minister. In the same interview Rascal stated that, "If you believe you can achieve, innit," thus showing his agreement with Paxman's humorous remark.^[34]

Dirtee Stank[link]

Dizzee Rascal has created his own record label, called Dirtee Stank. Dizzee Rascal's explanation of the name is, "The name came from one of the first lyrics I had: 'going on dirty/going on stank…' So I thought 'yeah, Dirtee Stank.'"^[35] Dizzee has stated "I had Dirtee Stank before I had my record deal."^[35] The first white label release of "I Luv U" was made on Dirtee Stank, released when he was 16,^[36] although both of his albums and their subsequent singles have been released under XL Recordings. It was not until, 30 September 2005, that Dizzee Rascal 'revived' the label and made his first signings, Klass A,^[37] and Newham Generals. The label's MySpace page states that the ethos of the company is "about bridging the gap between indie, majors and the street. Stank is the way forwards". The label's alternative logo is a picture of flies circling faeces – when asked why this logo was chosen, Dizzee stated that it was the "streetest thing I could think of".^[35]

The label was formed and is owned by Dizzee Rascal, and is co-run by Dizzee's manager, Cage, Label Manager, Laurence Ezra, Tour Manager Paddy Stewart & Executive Producer Teriy Keys. According to Cage, Dirtee Stank exists to promote gifted artists with "social problems" that might scare off other labels. "People who, through the conditions they live in, might not be stable."^[37] The label should also help artists overcome hurdles such as access to studios that "take something from a raw demo to something people will get excited about on the street".

The single "Dance Wiv Me", featuring UK electro artist Calvin Harris and RnB artist Chrome, was released through the label on 7 July 2008; the track became Jo Whiley's Pet Sound for the Week beginning 2 June 2008, thus gaining a large amount of radio airtime. The single charted at Number 1 on download sales alone, a week before its physical release. Dizzee's next two singles, "Bonkers" and "Holiday", were also released under the record label, and these two again charted at Number 1. Dizzee then released his 4th album on the label (Tongue N' Cheek) which along with three number ones spawned the top 10 hit Dirtee Cash.

As of August 2011 the Newham Generals (D Double E & Footsie), Smurfie Syco and Pepper are signed to the label.^[38]

In November 2011, Dizzee Rascal and Dirtee Stank Recordings signed a multi-million dollar recording and distribution deal for all artist under the Dirtee Stank banner, music will be released on the Island imprint.

Discography[link]

• 2003: Boy in da Corner
• 2004: Showtime
• 2007: Maths + English
• 2009: Tongue N' Cheek

In video games[link]

In PlayStation Home, the PlayStation 3's online community-based service, there was an event dedicated for Dizzee Rascal in the VIP Room of the SingStar themed game space that ran from 24 September 2009 to 9 October 2009.^[39] Dizzee performed for the PS Home/SingStar community and answered questions for an hour after the performance. There were also limited time items at this space like a Dizzee Mask. This was available to the European and North American versions of PlayStation Home, however, Dizzee only appeared in the European version answering questions.^[40] There is also a SongPack on the SingStore for SingStar that include six of Dizzee's tracks.

Dizzee's track "Stand Up Tall" is featured in the 2005 video game FIFA Street.

"Fix Up, Look Sharp" is featured in the 2009 video game DJ Hero and in the United Kingdom version of the 2010 video game Def Jam Rapstar.

"Bonkers" is featured in the 2010 video game DJ Hero 2.

Awards and nominations[link]

• Mercury Prize
  • 2003 (Won)
• NME Award
  • 2004, Innovation (Won)
• Urban Music Awards
  • 2009, Best Male (Won)
• BRIT Awards
  • 2010, Best British Male (Won)^[41]
• BET Awards
  • 2010, Best International Act (Won)

References[link]