Spike Jonze has directed some pretty good music videos. His list of clients is long and illustrious and his Directors Label DVD is fine proof of this.

Some highlights include videos for Fatboy Slim’s Weapon of Choice and Praise You , Bjork’s Oh So Quiet, Weezer’s Buddy Holly and these two:

Notorious B.I.G. – Sky’s The Limit

Pharcyde – Drop

The Pharcyde were, for two albums at least (Bizarre Ride II and Labcabincalifornia), a great Hip Hop group. Based in L.A. and released through the quasi-legendary Delicious Vinyl, The Pharcyde purveyed a humorous, jazz ladened style, which managed to avert itself from the machoism of Gangsta Rap without sounding totally weedy and pathetic.

(If you’re looking for two good starting points, past the already presented ‘Drop’ I’d listen to Passin’ Me By and Runnin’.)

However the thing that excites me the most about the DVD is the work Spike Jonze has done around The Pharcyde rapper Fat Lip.

Fatlip – What’s Up Fatlip?

On first glance the song/video comes across as on overly self deprecating joke, done in jest at a made up characters expense. In reality, what makes the whole thing so incredible is that this is an autobiographical admission.

After The Pharcyde released Labcabincalifornia, Fat Lip was kicked out of the group for a mixture of cocaine abuse and failing to appear at shows. As the groups career nose dived so did Fat Lip’s personal life. With no solo album in sight and his bank account, fame and self esteem running out fast, he hit some pretty bad times in the late 90’s, culminating with him writing this one off single in 2000.

I’m unsure about Fatlip’s creative output at this time, but seeing as it took him till 2005 to finally release a solo album I’m guessing this is a bit of a one off statement. In fact, from what I could deduct from the DVD’s linear notes, the video and single only came about as a by product of Spike Jonze chasing up Fatlip for an interview. Spike Jonze had heard rumours of Fatlips demise and wanted to hunt him down to find the truth. The following 4 clips are of an interview done (in 13 parts on YouTube) during and around the shoot for the video to ‘Whats Up Fatlip?’. They are unnerving and yet hilarious at the same time (in a real Office way) with Fatlip snapping in and out of character, occasionally acting the washed out waster and occasionally playing himself. This gives a real insight into quite how troubled and low he had sunk from his Pharcyde days. Although sometimes depressing, it’s amazing how refreshing it is to hear a rapper talk with such clarity and openness about the mistakes he made, his problems and his fears for the future.

Part 1/13
(The opening scene to the documentary: Fatlip playing the ‘washed out bum’)

Part 6/13
(My favourite part: Fatlip talking about how he’s started using the bus, before realising that he’s still in a clown suit from the shoot)

Part 10/13
(Fatlip talks through his fears about being accused of being gay, and how they were born out of accidentally dating a transvestite)

Part 12/13
(Easily the most depressing part of the documentary. Still in his clown suit, Fatlip talks through his realisation that he’s past his peak, but that he’s got nothing else, so he has to keep on rapping, even if its just to eat)

In the last few days videos have emerged of The Pharcyde’s reunion as a full line up. I only hope its not going to be as bad as I imagine it could.

(On a side note, doe anyone else see the resemblance between Fat Lip and Ronojoy??? )

The Dark Knight’s Curse:

Heath Ledger dies ‘from possible drug overdoes…’

Christian Bale arrested for ‘beating up his Mum and Sister…’

Morgan Freeman in ‘critical’ condition after a car accident…

I’m not one who’s normally swayed by superstition or easily duped into conspiracy theories, but if I was Gary Oldman, Michael Caine, Aaron Eckhart, Maggie Gyllenhaal or any of the other mains parts in The Dark Knight, I’d be pretty worried.

I’ve yet to see the movie, even with its massive response from both critics and audiences but after all this I’m not sure if it makes me even more keen to see it, or if its scaring me away.

On a more serious note, I love Morgan Freeman and I hope he makes a full recovery quickly:

I spent the weekend just gone in Berlin. Weekends there are an electronic music fans dirty dream. DJs play from Thursday night through to Monday afternoon, without respite, in clubs, bars, abandoned buildings, parks, houses and anywhere else they can fit a sound system. Berlin houses some of the worlds greatest record stores which, open all week, are complemented by the cities many flea markets, full to the brim with untapped treasures.

(Bar 25)

One of the main reasons I went out to Berlin was to see Riton and JG Wilkes from Optimo DJ at Broken Hearts Club, a monthly night of rotating music policy and venue that provides a constant stream of high quality guest djs and eclecticism. This month the club was held at Bar 25, a pretty special spot, set in the secluded riverside of Friedrichshain. The venue is made up of 3 wooden shack-like bars, an outdoor cinema/circus and an excellent restaurant. With the nights psychedelic dress code and the surroundings somewhat resembling a Germanic Neverland, the music policy of Krautrock, Cosmic Rock/Soul/Disco was the perfect soundtrack to a rather hot night.

(JG Wilkes from Optimo and Riton aka Eine Kleine Nachtmusik with Eine Kleine Nachtmusik – the movie, being screened behind)

As ever, JG Wilkes played a wonderfully diverse set, but it was all round great guy Henry Smithson who provided the highlight of the night for me. As you might have read, Henry has just made a superb tribute to 1970’s Krautrock with his new album/project Eine Kleine Nachtmusik, and his set much reflected this. The 10 minute movie he made with Phantom for the album, (CHECK IT OUT NOW HERE) was continuously projected onto a screen behind the decks whilst he played a set made up of anything German and from the 1970’s (apart from a few choice cuts from his own album.) He kept a slow chugging groove throughout, that peaked (much to the crowds delight) in both tempo and selection quality, with Neu’s classic Hallo Gallo.

A great guide to the inspirations behind Eine Kleine Nachtmusik and the sound of the DJ set is this excellent new mixtape. Get it here:

Eine Kleine Tonite Music chosen, edited and mixed by Eine Kleine Nachtmusik

Track Listing:

Eroc – Zimperlein
Edgar Froese – Pinnacles
Intence – Jump on Velvet Paws
Kraftwerk – Boing Boom Tschak
Kraftwerk – Neonlicht
Tone Band – This is Germany Calling
Toy Planet – Two Dophins go Dancing
Faust – Its a Rainy Day, Sunshine Girl
Guru Guru – Globetrotter
Conrad Schnitzler- Das Tier
Peter Bauman – The Third State
Cluster – Caramel
Cluster – Grosses Vasses
Holger Czukay – On the Way to the Peak of Normal
Die Grüne Reise – Ich Bin
Baffo Banfi – Indian
Rheingold- Dreiklangsdimensionen
Canaxis 5 – Boat Woman Song
Amon Düül –
Uberfällig – Puls
Neu! – Hallo Gallo
Eloy – Impressions
Holger Czukay – Persian Love
Tangerine Dream – Love on a Real Train
Segius Golowin – Die Weibe Aim

(Tic at Picknick, Mitte)

Another nightlife highlight of our trip was Mitte’s half legal Picknick. During the summer Picknick is held in two connected courtyards that split the musical responsibility between italo-disco/disco/80’s electro in one area and techno/house in the other. Both sets of DJs were great but even though I was assured that this was the ‘fun, laid-back place to go’ I still didn’t see one Berliner smile all night. I can’t find any addresses, maps, or websites for the party as I fear it’s not strictly legal, but it takes place every Saturday and can be found by asking any local record shop/bar/scenester about it. One word of warning: watch out for the door guy, he’s a moody stuck up so-and-so. Be nice to him with the aim of getting in and then forget he ever existed.

Just as the sun came up, the DJ played Detroit Techno legend, Kevin Saunderson’s ‘Heavenly’ (1997). A great moment/track.

Keving Saunderson – Heavenly

(I’ve also uploaded Juan Atkin’s brilliant mix of Kevin Saunderson’s Heavenly for you to download if you please.)

Not quite having the same stamina as the locals I did actually sleep a bit and was even active in daylight hours. This led me to stumbling across what is now one of my favourite record stores:

(Audio-In, Friedrichshain)

Audio-In (Libauerstraße 19, Friedrichshain, Berlin) is one of those small record stores that only has a few sections, but for every 10 records: you want 9. The staff are hugely knowledgeable music lovers and are desperate to help/recommend/educate/debate about pretty much any genre in there (specialties include: Techno, Italo Disco, House, Synth Rock and Electro). If you buy enough vinyl/spend enough time, they might just give you the odd free record.

One of the jewels amongst the records I bought was this 1979 classic by The Warlord:

The Immortals – The Ultimate Warlord (1979 Version)
(Check the 1981 Version’s cover. I inexplicably bought both)

(Credit has to go to the guy who spent all that time sourcing and editing the footage for that homage to The Ultimate Warlord.

Here are two records I heard in London’s excellent Disco Bloodbath, failed to find in London but found in brilliant condition at Audio-In:

Shelia B. Devotion – Spacer

(On further listens, Spacer sounds like the certain inspiration for my all time favourite Cutters Crew song Died in Your Arms.)

Voyage – I Love You Dancer
(To see the back cover click here)

I may as well admit that this has descended into my mini guide to Berlin, so, finally, if you spend enough time in Audio-In and build up a good appetite, you can head across the road to the great Italian place. Calzone comes highly recommended:

(Tic and the Calzonesaurus)

The supremely talented young Kwes has unveiled the first in a series of mixes inspired by his favourite varieties of tea.

Number One is in honour of Lapsang Souchon , a smoke-dried tea which apparently tastes how a campfire smells.

Download it here.

The tracklisting looks like this:

1. J Dilla – Stop
2. Late of The Pier – V W
3. The Cool Kids – Black Mags
4. Beck – Gamma Ray
5. Dog Bite – Indian House
6. Post War Years – You & Me Both
7. Chromatics – Healer
8. Metronomy – Radio Ladio
9. Toddla T – Sound Tape Killin’
10. Magistrates – Make This Work (Kwes./[o=o]. version)
11. Shuggie Otis – Strawberry Letter 23 (Edit)

Particular mention must go to a magical interpretation of Magistrates’ Make This Work.

Last night I watched Yugoslavian/Bosnian director Emir Kusturica’s hilarious Black Cat, White Cat (1998).

Set in Serbia, ‘Black Cat, White Cat’ is a surreal gangster themed black comedy full of mystifying contraptions, bizarre relationships and dizzying scenarios about a group of Roma gypsies who plan to steal a train full of oil. That little bit of hyperbole might lead you to believe that its a Lock, Stock and Two Smoking Barrels for Eastern Europe, and you’d be a bit right, except its not a cliche – packed – Richie cheese extravaganza.

The soundtrack to the movie is equally as exciting. Until I did a bit of internet research I had absolutely no idea how the soundtrack was compiled and who all the tracks were by; what I found was pretty incredible. Even though the soundtrack takes in a whole slew of different genres ranging from Balkan gypsy folk to Euro-Trance, it was all composed and performed by the same people: Zabranjeno Pušenje aka No Smoking Orchestra aka Black Cat, White Cat Orchestra.

The ‘Black Cat, White Cat Orchestra’ was formed out of the ‘No Smoking Orchestra’ who were originally a highly successful Serbian garage rock band called ‘Zabranjeno Pušenje’ (which means No Smoking.) The band’s music has always been highly satirical and very political, matched by their affiliation to the comedy TV/Radio show Top Lista Nadreaista. During the Bosnian War the band, who were from different parts of Yugoslavia, had to split. At the end of the war the band came back together. The soundtrack is one of the resulting gems they’ve produced.

The accompanying clips portray the vast variation in musical styles that the soundtrack possesses, and the clips that go with the music gives you a great taste of what the movie is like as a whole.

From balkan folk…

To Euro Trance…

With a bit more looking I found the track from the limo clip, in full. DJS, PLEASE START PLAYING THIS OUT:

Zabranjeno Pusenje aka No Smoking Orchestra aka Black Cat, White Cat Orchestra – Pit Bull

I went to see El Guincho in Madrid at Día de la Música. This is what it looked like:

We’ve (well I’ve) been away for a bit too long. Feels like I’ve lost touch with you: the readership (aka the 3 people in our dazzling IT dept who read this blog,) but I’m back now, and I can feel a wonderful reunion, like below, is on the cards:

In the next few days expect bits on Fat Lip, Spike Jonze, Chinese Tightrope Walkers and Mickey Moonlight.

As mentioned here , the rumours of a Damon Albarn Olympics theme tune for the BBC are true:

An album to follow???

I’m going to their opera on Saturday, i’ll let you know how it goes.

Delia Derbyshire was an electronic musician who came to prominence whilst working at the BBC Radiophonic Workshop. I first came across her when trying to clear the samples on El Guincho’s debut Alegranza. The sample in question was taken from Delia’s track Mattachin and used on El Guincho’s Costa Paraiso.

Delia Derbyshire – Mattachin
(Ignore the animation, it has no relevance to the music or the article, even though its interesting.)

What jogged my memory about Delia was a fascinating piece written about her in The Times, yesterday, based around her lost works (hidden somewhere in the depths of BBC HQ,) having finally been found and dusted off. I could give a full run down of her life and the story of the missing tape but you’d get far more out of just reading it yourself:

Delia’s created ‘future’ sounding theme tunes, background music and soundbeds for BBC radio and TV programs. Her techniques, limited by the lack of technology in exsistence, consisted of recording a sound onto magnetic tapes, sculpting them with a razor blade, manipulating them with analogue effects and recording techniques (delays, echoes, reverbs etc) and then sticking each individual sound back onto that tape. The following is a video of Delia explaining some of the process:

One of her most famous bits of work is her classic Dr Who theme tune:

Written by Rob Grainer and Delia Derbyshire and arranged by Delia Derbyshire

Outside of her work with the BBC (which apart from including countless radio and tv themes, including recordings with John Peel and Barry Bermange) Delia was involved with a few other electronic music projects. Two of these are particularly interesting:

White Noise was the band Delia formed, in 1969, with long time colleague at the BBC, Brian Hodgson and American composer David Vorhaus. As a trio the band created An Electric Strom an album which even though it has been widely hailed as having laid the plan for future electronic music still avoids sounding just like an experiment in new sounds and actually contains beautiful song writing, melody and emotion.

White Noise – Love Without Sound

Just before White Noise came about, Delia and Brian Hodgson formed a group called Unit Delta Plus which not only set about creating electronic music but promoting it and its uses in film, television and radio too. Unit Delta Plus died out just before the creation of White Noise, but they did manage to involve themselves in the infamous show at the Roundhouse in Camden, The Million Volt Light and Sound Rave. I can’t find out too much about it other than it was a night of ‘Electronic Music’, including a set by Unit Delta Plus, set to different light shows. The other band on the bill were The Beatles doing a one off piece of music called The Carnival of Light, which is reported to be a 12-15 minute long bit of music that includes Paul and John screaming over loops of noise and was reportedly banned from release by either George Harrison or George Martin (no one can work out who,) on the grounds that it was too avant garde. Sounds like a pretty incredible night.

I stole this from Kanye’s (like what I did there? keep it on a first name basis and it makes you think I know him,) blog. It’s a pretty wild video of an Indian guy riding his motor bike, no hands, lying flat on his back, whilst using his phone.

The best bit it about it though: the song on the radio

Michael Stipe gives Holy Fuck his seal of approval: (start watching from 1.50)

Seems as if we might end up signing Brazillian-Wonder-Boy Robinho. Even though comparison’s with Pele are largely to do with the fact that they played for the same club and look the tiniest bit alike (aka they’re both black,) and our ever reliable source on Spanish Football Gossip, El Guincho, claims that Robinho is a bit too keen on partying, (if so I’ll be trying to catch him in some classic chelsea nightspots,) I’m not too bummed, largely because of the video below.

Judging by this, if he can avoid 35 hour cocaine sessions, Robinho might actually manage to make Stamford Bridge an entertaining place to watch football this season:

In related news, (the relation being that the music in the video is a Gorillaz song,) it seems as if Damon Albarn’s Chinese Opera, Monkey: Journey To The West will be taking quite a big part in the BBC’s Beijing Olympics coverage. They’ve penned a theme tune, which I can’t quite find yet, but I’m guessing its based on the following:

Check this for more info on the BBC/Monkey hook up.

Just in case you were wondering, Think Tank is my favourite Damon Albarn creation. At at a time when Blur’s formula could have become tiresome (great song writing stopped that ever really happening,) and tensions in the band were really bringing things to a halt, Damon pulled this funky, world music inspired gem out of the bag, (I say Damon, instead of Blur, because Graham didn’t really feature on this album.)

Blur’s change of direction on Think Tank seemed to shock people at the time, but as Damon had released Mali Music a year earlier, its progression feels quite natural. Without Graham’s guitar lines, the band were free, (with a little help from Fat Boy Slim) to branch out in how they arranged the songs and ended up using an array of well melded electronic sounds and production techniques, African instruments and quirky sounds (check the spring sound out on Gene by Gene) to create an album that is not only dark and brooding but contains a strong groove to it, (Alex James) famously said “it has hips.”)

I’m not going to upload tracks, you can buy it legally or download it illegally from somewhere else, but here are three of the tracks they made videos for:

Blur – Out of Time

Blur – Good Song

and lastly (only because its the least representative of the whole album,) the lead single:

Blur – Crazy Beat

I’ve been lucky enough to have gone to quite a few festivals this year, but T in the Park really is a special affair. Completely different to a late night Spanish festival in the mould of Primavera / Sonar, T in the Park starts at 11AM and finishes by 11PM, and at any moment between those times, you will find 85,000 Tennants fueled scots reenacting Braveheart to music. This might sound like hell but in reality leads to some of the wildest atmospheres, anywhere in the world.

Instead of doing one big post about several bands I thought I’d do a few bite sized ones, here goes:

Holy Fuck

Holy Fuck have been all over the World this summer playing festivals, (check this this this this and this,) but I’m pretty sure they’ve not played an energy drink sponsored stage, alongside a bunch of dirt bike jumpers, before. As exciting as it sounds, the stage and slot weren’t all that great, especially as they were up against some meaty headliners, but they played a terrific set and, as you can see, the lights were pretty amazing.

Click on any of the photos below to see larger versions and see the 4938574 other photos I took of their set.

This goes some way in tricking my brain into forgetting that I live in England and we consider 22 degrees a hot day in July.

Soak it up.

Since we first started working with El Guincho, all the way back at SXSW, he’s been a busy boy remixing, being remixed and getting the odd bootleg done.

I thought I’d give you what I believe to be the best two of these remixes/bootlegs:

Back in May, Architecture in Helsinki kindly took El Guincho on a tour of Australia. It seems like a great friendship blossomed that produced these sort of duets:

and this remix by El Guincho of Architecture’s song ‘Like it or Not’. The remix comes in a cumbia styled form and although it doesn’t really contain that much that resembles the original, the remix does heavily rely on samples from the original. Does that even make any sense? Listen to it, give me a better summary.

I’m not sure whats better the bootleg or the photo (above) that goes with it. Both are excellent, so i’ll settle for a draw. I first heard this in a club on Sunday night. Jack Penate was djing and he played the Pitbull vs El Guincho Bootleg. I’d never heard it before so was pretty blown away when the dance floor reacted so well to it. It’s by a internet bootleg ‘crew’ called The Hood Internet.

Just in case you didn’t ‘get’ the mp3’s embedded in the text here they are:

Anthemillas – Pitbull vs El Guincho Bootleg.MP3

Like It Or Not (El Guincho Remix) – Architecture in Helsinki

The best thing about a young band or artist is no matter what they produce in their formative years, you can bet your bottom dollar that their output will be entirely different further into their career. Young, wide-eyed and still yet to experience all the magical musical history that the world has to offer, absorbing the multitude of great albums throughout time means that naturally, a band will grow into themselves over the course of their albums.

Clearly, Panic at the Disco listened to some Beatles records before starting work on their most recent effort Pretty. Odd. – previously labelled with the ‘emo’ tag, and rightly so. The band’s initial effort was pandering to a market, both in terms of music and image and whilst not bereft of songs, it all felt a little forced to be truly enjoyable.

‘Pretty. Odd.’ is, for all intents and purposes, a massive pop record, made with late 60s production values and laced with hooks bigger than those used by a shark fisherman. My love for this band is now unashamed and public and I’m proud to admit it and try to convert others.

Take the plunge; if you’ve got a bit of heart somewhere in that indier-than-thou chest of yours, you’ll be a sucker for these melodies too. It’s the closest we’re going to get to a fucking Summer this year, clearly.

Holy Fuck have been nominated for a Polaris Music Prize. This is like the Canadian Mercury Awards.

Apparently the winner gets 20,000 Canadian Dollars, so I really hope they win.

Here are the other nominees:

Black Mountain – In The Future
(Vancouver, BC)

Basia Bulat – Oh, My Darling
(London, ON)

Caribou – Andorra
(Dundas, ON)

Kathleen Edwards – Asking For Flowers
(Ottawa, ON)

Holy Fuck – LP
(Toronto, ON)

Plants and Animals – Parc Avenue
(Montréal, QC)

Shad – The Old Prince
(London, ON)

Stars – In Our Bedroom After The War
(Montréal, QC)

Two Hours Traffic – Little Jabs
(Charlottetown, PE)

The Weakerthans – Reunion Tour
(Winnipeg, MB)

We’re really excited to have all round great guy Ferry Gouw of the band Semifinalists join our ranks here. Ferry is a pretty multi talented guy, well known not only for his music but for his wonderful videos and artwork too.

The idea behind ‘Ferry’s Illustrated Review’ is to give you Ferry’s take on a track, not with words, but with… an illustration. Its painfully simple but I still manged to cock up the explanation. Anyway, I’m sure you’ve already worked it all out and as the whole point of this is that it doesn’t need words, I (Caius) promise to never write a boring intro again.

Hear it here and buy it here.

I was going to write a loved up blog on how good Jay-Z was at Wireless/O2/Hyde Park and how I had the greatest night at one of London’s best clubs, with one of my favourite DJs djing, but a car knocked me off my bike this morning, so I’m in no mood to be nice about anything. Sorry.

What I will say is that this was played in the club last night, and it was HUGE (the video is great too):

Lil Wayne – A Millie

Camp Lo are another hip hop duo who created a classic debut but never managed to follow it up in proper fashion, (also see them and them.)
Their 1997 debut, Uptown Saturday Night is an album whose whole concept, from lyrics to artwork to videos is based upon the themes of 1970’s Blaxploitation. Whist sounding like a pretty heavy going subject, in reality its more to do with lush, smooth and uplifting funk, soul and disco samples, colorful flared clothes and a set of lyrics that reference a lot of 1970s pop culture whilst making absolutely no sense.

Camp Lo – Luchini AKA This Is It

Cassanova brown levitation jiggy in da shiggy’s
In la hotta Car 54 chasin’ diamond runners
Headin’ ice bound, where every chilla dime can get
Your Harlem buck strut freezin’ world hice Hollywood
Madame Butterfly let me in your house of pleasure
From the knuckle swat shadowboxin’ catchin’ black-eye blues

Some might find fault in having hip-hop lyrics that make no sense, but Camp Lo manage to conjure vivid lyrical illusions with the shortest of phrases, and without the constraints of having to make rhymes logical, they are freed up to make pleasing use of their skills with assonance:

Camp Lo – Black Nostaljack AKA Come On

Drop cats from BX on the one and the two
We sippin on the booze with the little big league shoe
Somebody pulled a heist but they just don’t know who
I wonder how we do heist the juice how we do
I’m in the airy lye with a little bit of ooh
I do swing my flings but I practice kung fu
Now this here be the end so we will be seeing you

Hailing from the Bronx, aka the ‘birthplace of Hip Hop’, Sonny Cheeba and Geechi Suede partnered their surreal raps on Uptown Saturday Night with the Jay-Z affiliated producer Ski Beatz. Ski Beatz, real name David Willis, was riding a high on a wave of confidence, having just produced 4 tracks on Jay-Z’s critcally acclaimed debut, Reasonable Doubt, (Feelin’ It, 22 Two’s, Dead Presidents and Politics as Usual,) and one brilliant, brilliant stand alone 12”, In My Lifetime. With Jay-Z’s beats, Ski used smooth, often horn based, samples to very sultry and moody effect, but during the making of Uptown Saturday Night, Camp Lo’s obsession with everything Blaxploitation must have rubbed off, as although his style doesn’t drastically change, his beats take a unique turn towards a more bombastic 1970’s Shaft theme tune sound.

Although the album came out to all round great reactions, Camp Lo failed to make a follow up for 5 years. Once again they used Ski Beatz, but he hadn’t exactly been on fire since and the decision to drop their sampled soul sound for a more digital, polished and commercial approach failed miserably, the result being an extremely boring album that sold next to nothing. Such a shame. Anyway, I’ll leave you with another great track from their quite wonderful debut:

Camp Lo – Coolie High

Shawn Carter-mania has really swept the UK (and this blog) over the past few weeks.

This is the last time I write about him for a bit, but I couldn’t help but splutter my tea on my desk when I read that BBC.co.uk just called him ‘Jiggerman’ in their commentary at Wimbledon. Apparently he’s there watching the Murray – Nadal match.

No surprise really:

Jay-Z – Can’t Knock the Hustle

Got the US Open, advantage Jigga
Serve like Sampras, play fake a rappers like a campus
Le Tigre, son you’re too eager

classic footage, banned by the BBC for copyright reasons:

Kid Harpoon playing guitar with Dizzee Rascal, live at Glastonbury, on Dizzee’s new track (feat. Calvin Harris, ) Dance Wiv Me:

Seems I might have to eat humble pie.