of his songs in 2004, M.I.A. approached Diplo when he was DJing one night at the Fabric Club in London. Coincidentally, Diplo was playing her songs "Galang" and "Fire Fire" as she entered the club, which he got from a worker at i-D magazine. Diplo added, "She came through and she wanted to meet me 'cause she'd heard my single and the funk mix from one of her A&Rs and she just thought I was right up her alley. Besides me being a white dude from Florida and her being a Sri Lankan girl in England, everything else was the same: [We were both] film graduates, [listened to] all the same music when we were kids, we're going in the same direction right now in music, it was amazing... I always wanted to make a beat with her, but all my beats were really shitty at the time."M.I.A. Confronts the Haters . Pitchfork. Retrieved on October 23, 2010. The two eventually collaborated on a mixtape, Piracy Funds Terrorism Vol. 1, where Arular track acapellas were mashed with other artists' songs. It was listed among 'Albums of the Year' by The New York Times and Pitchfork Media.Booty Call – Page 1 – Music – New York . Village Voice (December 14, 2004). Retrieved on October 23, 2010. The two continued to work together after the release. He was the tour DJ on her 2005 Arular Tour. Diplo continued to work with M.I.A. and, through her, met London DJ Switch. Together, they created the Grammy-nominated track "Paper Planes", peaking at number 4 on the Billboard Hot 100. In 2015, during an interview with Rolling Stone, M.I.A said that Diplo resented her rise to fame in 2005, that he tried to hold her back, and fought with her about becoming successful. Mad Decent From this, Diplo went from an unknown DJ to taking off as a producer, landing him collaborations with artists like Shakira, Robyn, Kid Cudi, Bruno Mars, No Doubt and Snoop Dogg, as well as work with Maluca, Kid Sister, Die Antwoord, Alex Clare, Rolo Tomassi, Amanda Blank and Dark Meat. After taking a trip to Brazil to investigate the favela music scene, and fascinated with the energy the scene had to offer, Diplo decided to import a dance-funk group Bonde do Rolê from Brazil for release on his Mad Decent record label (also housed within 'The Mausoleum'). This group would