recording. Public image and stage Critic Sasha Frere-Jones, writing for The New Yorker, praised the self-made "unpretentious, stuck together with Scotch tape" style that M.I.A. achieves with her Roland MC-505 drum machine and keyboard unit, noting that several artists had tried to emulate the style since. Her considerable influence on American hip hop music as an international artist is described by Adam Bradley and Andrew DuBois in The Anthology of Rap as making her an "unlikely" hip hop celebrity, given that the genre was one of several influences behind M.I.A.'s "eccentric and energizing" music and that the musician's unclassifiable sound was one example of how hip hop was changing as it came into contact with other cultures. Similarly, Jeffrey H. Wallenfeldt writes in The Black experience in America : from civil rights to the present that no single artist may have personified hip hop in the 21st century better than M.I.A., in her "politically radical lyrics drawing from widely diverse sources around the world". The Guardian critic Hattie Collins commented of M.I.A.'s influence: "A new raver before it was old. A baile funk/pop pioneer before CSS and Bonde do Rolê emerged. A quirky female singer/rapper before the Mini Allens had worked out how to log on to MySpace. Missing In Action (or Acton, as she sometimes calls herself) has always been several miles ahead of the pack." The twisting of western modalities in her music style using multilingual, multiethnic soundscapes to make electroclash-pop albums is noted by Derek Beres in Global beat fusion: the history of the future of music (2005) to defy world music categorisation. In the book Downloading Music (2007), Linda Aksomitis notes the various aspects of peer-to-peer file sharing of music in the rise in popularity of M.I.A., including the advantages and disadvantages of the internet and platforms such as MySpace in the launch of her career. Andy Bennett and Jon Stratton explore in Britpop and the English Music Tradition (2010) how M.I.A. alongside musicians such as Sway and Dizzee Rascal created music that both explored new soundscapes and commented on social issues as well. Bennett and Stratton argue that the innovation that generates new musical genres such as grime and dubstep are, inevitably, political in nature. The success of grime-influenced artists such as M.I.A. is analyzed as a way in which white Britons adapted to the increasingly multicultural musical mix, which they compare with bands of