Editing Dizzee Rascal (section)

==Music and style==
When starting to make music in his teenage years, Dizzee Rascal "learned to rap fast" over drum and bass tracks with 170-180 bpm, in contrast to the slower tempos of UK Garage.<ref name=":1" /> He also recalls being influenced by [[crunk]] ([[Three 6 Mafia]], [[Lil Jon]]), grunge music, [[Black Sabbath]] and by [[Timbaland]]'s work around that time.<ref name=":1" /><ref>{{cite news|last=Hancox|first=Dan|date=5 May 2016|title=Track By Track: Dizzee Rascal's Boy in Da Corner|url=http://daily.redbullmusicacademy.com/2016/05/track-by-track-dizzee-rascal-s-boy-in-da-corner|work=[[Red Bull Music Academy]]|access-date=17 November 2018|archive-url=https://web.archive.org/web/20181117233805/http://daily.redbullmusicacademy.com/2016/05/track-by-track-dizzee-rascal-s-boy-in-da-corner|archive-date=17 November 2018|url-status=live}}</ref>

Dizzee Rascal once told author Ben Thompson in an interview with [[The Observer|''The Observer'' magazine]] that "everything I do is for the music&nbsp;– I want to master it like [[Bruce Lee]] mastered martial arts".<ref name="Thompson, Ben. Observer's">Thompson, Ben. Observer's Music Monthly. 17 April 2007.</ref>

Dizzee Rascal worked closely with his mentor [[Wiley (rapper)|Wiley]], who created one of the first grime tracks, called "[[Wiley discography|Eskimo]]".<ref name="autogenerated3">[https://www.newyorker.com/archive/2005/03/21/050321crmu_music True Grime: The New Yorker<!-- Bot generated title -->] {{Webarchive|url=https://web.archive.org/web/20080308182928/http://www.newyorker.com/archive/2005/03/21/050321crmu_music |date=8 March 2008 }}. ''[[The New Yorker]].''</ref> In 2005, music critic [[Sasha Frere-Jones]] observed that despite Dizzee's large mainstream exposure, grime still was not having a commercial breakthrough in the US, although it was "becoming familiar".<ref name="autogenerated3" /> His DJ, DJ Semtex, said in 2004, "the biggest conflict I have is with major labels because they still don't get it".<ref>{{cite web |url=https://www.bbc.co.uk/dna/collective/A3299204 |title=Collective - will grime pay? |publisher=BBC |access-date=6 February 2013 |archive-url=https://web.archive.org/web/20080227170824/http://www.bbc.co.uk/dna/collective/A3299204 |archive-date=27 February 2008 |url-status=live }}</ref> Andy Bennett and Jon Stratton highlight in the book ''Britpop and the English Music Tradition'' (2010) how Dizzee Rascal alongside [[Sway (British musician)|Sway]] and [[M.I.A. (artist)|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 him 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.<ref>{{cite book|first1=Andy |last1=Bennett|first2= Jon |last2=Stratton|title=Britpop and the English Music Tradition|publisher=[[Ashgate Publishing]]|year=2010|isbn=978-0-7546-6805-3 |oclc=663973447|pages=6–7}}</ref>