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thornsofthefuture · 1 month

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an interview with razorz of EPILEPTICS — a talk about music, molly and life

today, we had the honor to interview razorz, the frontperson of EPILEPTICS, once a witch-house & electronic band, now a reggaeton, post-hardcore & rave one-person project. EPILEPTICS has been in the industry since 2013. the band quickly gained popularity because of the self-titled LP released through the YOUTH 1984 label. the LP has been adored by fans of the witch-house & electronic genre. songs like Esoteric, Heroin Chic and Carpathian hit the charts, making EPILEPTICS a legend and a huge influence in the international Witch House scene, along with their chaotic live shows and then-elusive personas, setting the blueprint of aesthetic and sound for many bands and artists to come.

[this interview includes explicit content & mentions of self harm. some viewers might find this content triggering. proceed with caution.]

thorns of the future: first question: how did you find out that you wanted to be a music producer?

razorz: Out of necessity, I was 15-16 playing in black metal, crust and grindcore bands, I always realized that I was the only one writing songs and throwing ideas. When me and Amanda Failure started EPILEPTICS, we had no idea how to do electronic music, I read somewhere about this software "Reason 4". I cracked a copy and started messing with it, I was amazed that you could do music, an entire song on a laptop, a 2008 HP mini to be precise, we came from the world of guitars, amps, pedals and drums, we couldn't believe it. Now I do records and remixes for other people and I can tell you 100% that I'm not sure of what I am doing, I can't let other people do my songs cause I am very specific with everything, only a couple of occassions this has happened, MYKKA from Argentina, a superstar prod. she produced for Bad Bunny, Duki, Bhavi, Ysy A, and a bunch of other important people and she made some of the heaviest, nastiest dubstep ever before that, she has legit Gold Records and is one of the top producers from Latin America, so she made the beat for Suicide Season because I bugged her for a year and she thought that EPLPTCS was kinda cool and weird and SVGAWA (Ukrainian Witch House rockstar) a brother to me is the only person on earth that reads my mind and knows what I want, they are the 2 only people who have made beats for me, I became a producer but that was never the goal, when we started I did not even know what a producer was.

thorns of the future: tell us about the craziest person you've ever seen in the crowd during your live show.

razorz: On a festival in Moscow 2018 there was this girl and a dude that tried god-knows whatever designer drug and they were on the floor, could not move their legs or talk but they were moving their torsos to the music, they were in the back and I was impressed how unphased everybody was, like "hey, I think these guys are dying" and nobody gave a shit, here in Mexico in like 2017 some girls and dudes showed up with mutilated arms to the front row and I used to cut myself on some shows if I had a vibe going on, at Station Hall in Moscow I stagedived at the end with wounds open in the arms and some girl I believe licked them at the stagedive, that was crazy, after me, King Plague was gonna DJ and she refused to until the stage was cleaned up, I left it full of blood, that's the dumb stuff I was doing at the time, when I saw that followers of the band were destroying themselves from us openly encouraging the use of drugs and self mutilation, I stopped with that, a couple of people I really cared about actually died from that, there was this infectious "bug" on tours that was not healthy for anybody, we were dangerous to ourselves and the people around us, but that's the past.

thorns of the future: what were your thoughts during your first ever live show?

razorz: As EPILEPTICS? I was very nervous because Failure got in trouble and couldn't make it to the show but I didn't know, I played at like 3am at this indie little festival in a hall in here, a girl complained it was too noisy and it was hurting her ears, there is video of that show, gonna upload it to YouTube and about Failure, days later she answered the phone and turns out she was caught drunk driving that evening so her parents were getting her out of detention that night, I barely remember it, I was coked out of my mind and drinking anisette on that one, but I had played a bunch of metal/punk shows before EPLPTCS which are the worst, after coming from those scenes you are 120% bulletproof to anything, nothing is worse than those shows, you work and play your ass off for nothing in the tiniest places in the worst conditions with the worst crowds.

thorns of the future: what made you switch from electronic music to your current genre?

razorz: We never intended to be a Witch House band, we just wanted to blend what Salem and Glass Teeth were doing with UK rave music and jungle, we were "adopted" and thrown in the bunch by the people and we are grateful for that, I see the impact now that us and the Russian bands and prods had on the current musical landscape, we were a bunch of angsty teenagers that just wanted to unleash. Anyway I lived the Witch House thing to the fullest, I played all the fests, met everybody, got signed twice and made money, I was in Russia when Witch House was mainstream music there, you would walk into a Bershka store and they were playing Crossparty, it was not underground at all, in Spain it was a big deal as well, before Sidewalks toured the circuit, before Crim3s, I did, I saw it and we all knew it was gonna end eventually, everybody was living the lifestyle, everybody was running out of ideas and americans put the final nail in the coffin of Witch House with their stupid songs about ghosts, terror and daft shit like that, around 2019 the scene was dead worldwide and you can ask anybody who was there, Dann K left the band and it was only me now, I always hated rap music but we were played on Mexican radio a legendary station in here called Reactor 105, they believed in us and played our songs, one day I was listening and Bring the Noize by M.I.A. came up, I was floored, I could not believe the sound of that, so I started listening more, started to consume UK grime, weird ethnic stuff like kuduro (it's a music genre) and soundsystems, reggaeton was huge in here always and at that time there were this really dense/heavy loud af tracks coming from South America along with the trap scene from Argentina and I was into that as well, I needed a rebranding of everything and now I was gonna front so I did "lost u" which is a monster witch pop song as a goodbye for the "Version 1" of the band, plus me being razorz and EPILEPTICS being pretty much my life for 5 years at that point, I was not 18 anymore and you have to think like "I guess this is what I am gonna do, so I need to be more commercial" and at that time I was partying a lot and liking commercial af music and seemed reachable so I went for the full selling out if you will and I don't regret it at all, underground is not fun.

thorns of the future: how old were you when you first started making music?

razorz: I always played music, my mum is a huge music fan, she was an 80's goth and she also liked metal so I got my 1st drumkit when I was 3, then a guitar at 6, she was very supportive, my dad didn't really care, I never learned theory, so I would play CDs and learn from there, my first song I'd say I was 12 (?) it was some sort of a Carcass death metal song. So it went from there, there is this ultra depressive neoclassical autumn vibes piano/acoustic guitar project called 'Bläire' (which was my pseudonym in black metal bands I played in) I recorded it alone in my bedroom when I was like 15, it was supposed to come out on cassette on a Finnish black metal label but it closed 2 weeks before the release and that broke me so I put a couple of those tracks as hidden tracks on the 1st and 2nd EPILEPTICS records (Autumnal Black Metal Tape and Santander respectively) I will eventually put that whole EP myself on Spotify.

thorns of the future: who's your biggest inspiration?

razorz: Way too many people to mention, but Liam Howlett (The Prodigy), Skrillex (who I was a fan of since From First to Last) and Ethan Kath (him exclusively, fuck that other person in that band) made it seem realistic cause they were punky guys like me. Nowadays I get inspired by anything, many people wouldn't believe all the shit I listen to, all over the place.

thorns of the future: what's your favourite song that you produced?

razorz: I am very proud of Nadia Comaneci, that song took me 2 years to write when I was homeless (by choice) and on meth, it encapsulates the hate, actually becoming insane and paranoia like no other song, it has this totally incoherent lyrics that range from violence and death to school shootings, me being Hannah Montana, killing police officers, killing rock music, La Santa Muerte, asexuality as a way of living, suicide, life in the 3rd world, anti materialism, etc. 2 minutes, all of that in 2 fucking minutes, the music video is just a masterpiece too, that the director (Conejo Roto) envisioned, very disturbing and grotesque but not in the obvious way, I love it and its like 4 different music genres squeezed in 2 minutes, again: awesome, it's like a manifesto.

thorns of the future: tell us how you start the process of making music.

razorz: Listening to music, and just observing life, I can be listening to Britney and Kylie Minogue and steal a vocal melody from them, then maybe a drum pattern from Diplo and then a guitar lead part from old Bloc Party, The Kills or The Libertines and a synth from 100gecs and then a flow and snare from a Favela Funk song, or a figure from a riff from Darkthrone, my way of writing music is straight up stealing parts of songs from totally opposite genres and mashing them together, it is rare that a song comes to my head but sometimes that happens.

thorns of the future: how did you come up with the name for your band?

razorz: I have a cousin that was diagnosed with epilepsy that I didnt see often back when we started the band, he had a seizure and I was alone with him at our grandma's house, he had this fucked up convulsion and I was alone with him, his eyes went blank and his mouth was tweaking bad, I told Failure about it and she had a crush on Ian from Joy Division (lame) who was an epileptic too, so she named the band, I thought it was a stupid name and I still hate it, we released 'Esoteric' like weeks later and we kicked the Witch House/rave scene along with the russians and it became this minor hit in a matter of days so we couldn't change it, I still hate the name and think it is silly as fuck, almost 10 years still bothers me.

thorns of the future: what would you like to say to your fans?

razorz: I hate the word fans, I like calling them friends, I'd like to tell them to not have kids, that's the best advice I can give and to never listen to anybody, live your fucking lives however you want.

thorns of the future: what's your favourite drug and why?

razorz: I'm gonna go with molly, I had some of the best times of my life on that one and I did lots of music discovery with my then best friend Axl, we would do tons of molly, not eat for a week and just listen to music nonstop, Dann K. (vocalist/synths on The Sun Hurts My Eyes) got me into shooting coke right in the fucking neck for a bit but it was too awesome so I stopped and went to regular snorting I guess, I have a permanent damage on my palate from doing so much coke for years.

thorns of the future: is there a religion you hate most?

razorz: Oh man... haha anything that involves bombing, cowardly unaliving kids in other countries and treating women like garbage, not gonna name it but I think everybody with a braincell will know what I'm talking about.

thorns of the future: your most unliked subculture is…

razorz: Punks, fucking losers, lame mediocre, miserable people who like to pretend they live in 1985, metalheads too, are pretty stupid and childish and anybody who is playing glam music or trying to be Guns N' Roses in 2024 is amusing to me, oh djent is pretty fucking lame too.

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thorns of the future: tell us your least liked artist - is it because of their music or their personality?

razorz: Gonna name a few in no particular order: XXXTentacion, Lil Peep, Arca bothers the shit out of me, mediocre techno, this Sarah Landry bitch who plays "hard techno" which is just a kick loop going on for 3 hrs what's that shit about? Nobody likes it but fucking dunces pretend to like it cause it's "cool", Nina Kraviz, dumb fuck thinking she is modeling while DJing, this stupid pop punk revival bands talking about pizza and smelling their mothers ass they are even doing that here in Mexico, it is insulting, bunch of fucking sons of rich privileged idiots, My Chemical Romance, Tool, 98% of American Witch House talking about ghosts and Halloween and shit lmao, post-2013 Grimes (hung out with her in 2016 and she was annoying as fuck) K pop boybands and girlbands, lame electronic like Porter Robinson, that BLAND stupid disco shit that Daft Punk did, white people acting black, Machine Gun Kelly, DJs who have girls twerking at their sets piss me off beyond belief, Drake is one of the softest and most pathetic individuals to ever put music out, etc man, my hate is unlimited and I have chilled out a lot. Honorable mention to this dumb fuck Anyma, he was Grimes' boyfriend or something, that instead of playing MUSIC he just puts this dumbass lame visuals on his shows, J Balvin and Maluma along with all that soft reggaeton pop bullshit is pretty embarrasing as well, they think us mexicans LOVE that garbage and we don't.

thorns of the future: what's the riskiest thing you've ever done?

razorz: For my own security I can't talk much about it but I am amazed that I was not killed, that I never had a fatal overdose and that I am not in prison talking to you today, whatever you think I've done multiply that by 10 and you will be kind of close, I lived the street life to the max when I was a meth addict and I don't like all this people around the world rapping or singing about it like it's cool cause it's not, the fear of police, paranoia, the nothing, hearing voices and seeing things that are not there, the cold, the "I don't know if I'm gonna come back alive from this one" or going to a free clinic to check if you have AIDS are things I do not miss at all.

we would like to thank razorz of EPILEPTICS for answering all of our questions. we really appreciate you. that's all for now.

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images & videos: razorz

spotify:

EPILEPTICS: https://open.spotify.com/artist/20KlxRilj2aFPUDjglUebT

razorz: https://open.spotify.com/artist/3AvvaBzMypsd6UYoE3aNBF

instagram:

EPILEPTICS: https://www.instagram.com/epileptix/

razorz: https://www.instagram.com/r4z0rz/

hyperfollow: https://distrokid.com/hyperfollow/epileptics

#epileptics #interviews #witch-house #electronic music #razorz #Youtube #thornsofthefuture

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hit-song-showdown · 1 year

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Year-End Poll #68: 2017

[Image description: a collage of photos of the 10 musicians and musical groups featured in this poll. In order from left to right, top to bottom: Ed Sheeran, Luis Fonsi and Daddy Yankee, Bruno Mars, Kendrick Lamar, The Chainsmokers, Migos, The Chainsmokers, Sam Hunt, Imagine Dragons, Post Malone. End description]

More information about this blog here

It's easier more than ever to see the effects of streaming on the pop charts. As electropop and club music become a distant memory, the pop music of the late 2010's works better with individual listening. As mentioned before, streaming works better for album listening, much more than the iTunes era which encouraged the purchasing of individual songs (which was great for singles artists, but not necessarily for albums). Some artists were able to hack this system. For example, Drake's Views (featured on the previous poll) was notable for having 20 songs on its tracklist -- which is a lot for a pop release. Unlike the iTunes era or even the CD era before, longer albums with shorter songs flourish more in the streaming landscape.

Streaming also helped to continue blurring the line between genres and audiences. Without going too much into it (because this is a topic I could ramble on about endlessly), genres were not handed down to us from Mount Olympus or something. Genre is a tool of marketing, and the lines drawn between them can have a variety of cultural, racial, economic, gender, religious, and other variables between them. These lines were more prominent in previous years before streaming made it easier to access just about every kind of music at once. This is when we start to see the rise of a concept known as the "monogenre". In order to cater to as wide an audience as possible, everything starts to sound like everything. A little rock, a little indie, a little trap, a little tropical house, a little festival EDM. There were also those who criticized the streaming era in how it promotes a more "passive" listening style, since playlists and algorithms could continue playing ad infinitum without the listener needing to seek out new music themselves. While I certainly see the evidence of that on the charts, I don't think this tells the complete story.

As a less cynical counter-argument, streaming has made it easier for listeners to find music that otherwise wouldn't have been marketed to them. I believe that this could be one of the factors behind reggaeton finding a growing audience among English speakers. Obviously reggaeton did not originate this year. The roots of the genre can be traced back to the 1980's in Panama where it would later grow an even larger audience in Puerto Rico. The genre would grow in popularity in the States as well, especially in the early 2000's. But if you weren't paying attention to Spanish language music (and you didn't grow up in the Southwest), it was easy for mainstream audiences to miss it. Reggaeton includes influences from dancehall and hip-hop, so it makes sense that the genre would find a mainstream English-speaking audience when those two genres were also shaping pop music. Because Despacito wasn't just big for a reggaeton song. It wasn't even big for a Latin pop song. Despacito led to Daddy Yankee becoming the sixth most listened-to artist on Spotify in 2017, and led to an influx of Latin and reggaeton artists who were able to cross over without English language remixes. Billboard magazine has an article here about the "Despacito Effect".

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thesinglesjukebox · 1 month

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SEVDALIZA FT. PABLLO VITTAR & YSEULT - "ALIBI"

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In April 2017, [Yseult] worked in a writing seminar for the Black Eyed Peas, organised by Polydor, after which she decided to end her contract with the label later that year."

[7.43]

Harlan Talib Ockey: Sevdaliza sounding ethereal, a viscerally satisfying reggaeton drop, both Pabllo Vittar and Yseult doing an operatic Kate Bush impression. What’s not to like? [8]

Ian Mathers: Always a bold move to work with two other singers who just outsing you on your own track, but the whole of this works well enough that it comes across more like confidence and good taste. [8]

Leah Isobel: Sevdaliza's music is intent in its solemnity, so even when she throws of our most cartoonishly delightful popstars on a baile funk beat, the end result still feels startlingly corseted. I like the way she delivers the song's title as a farewell and the way her melodies embroider the vworps and zwooms of the synth bass, but there's a classical sort of prettiness here that I wish she'd scuff up a little. [7]

Katherine St. Asaph: The operatic thrills and eclecticism mostly make up for the plodding chorus. [7]

Nortey Dowuona: Katherine St. Asaph once compared Sevdaliza to Tracey Thorn, remarking on the richness of their voices as well as the woo that one would have to push through in order to enjoy the music. Yseult and Vittar, both of whom are sterling vocalists, strain to cut above the noise here. Vittar swings boldly for the fences in the first and last two lines of the intro and the bridge to grab the listener by the hand and thrust them into the chorus, while Yseult, a Nouvelle Star graduate with a sterling soprano, flutters above the drumwork by Mucky and Mathias Janmaat, who suffocate the Totó la Momposina sample under dimming filters to not overshadow the lead artist. Sevdaliza's voice, a low, girded drawl, thrives in this environment amid the heavy rhythmic swing of the drum programming, and she manages to make some of her most woo-woo lyrics ripple through the mix. [8]

Jonathan Bradley: There’s more melodrama in the spiky synth riff than anything else, though our three stars give it their best with lines like "when was the last time you felt safe in the dark?" and "this world was never meant for a woman’s heart." Pabllo Vittar’s warbled bridge is certainly overwrought, and a wobbly drill-adjacent bass tugs us deeper, but I never feel like we fall through the veil into the world these three have constructed for themselves. [5]

Wayne Weizhen Zhang: Takes me back to a place when early 2000s pop music took itself way too seriously, and when the stakes were always inexplicably “ride or die.” “Alibi” is the sexiest and deadliest thing I’ve heard this year, in three languages. [9]

[Read, comment and vote on The Singles Jukebox]

#sevdaliza #pabllo vittar #yseult #music #music writing #music reviews #music criticism #the singles jukebox #Youtube

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jackredfieldwasmyjacob · 1 year

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my besties eurovisionspain just made this article about 12 artists that could be great choices for next year benidorm fest so i had to talk about them!!! here's the full article but i'll go over the artists / groups for all of you who don't speak spanish plus give my little opinion :)

(the links in the artists' name will go to the song the eurovisionspain team selected to be a showcase of them, so think of them as how a benifest entry for them could be like)

delaporte: delaporte is a duo formed by spaniard sandra delaporte and italian sergio salvi known for being one of the biggest electronic pop bands right now. i actually know them through their project titanas, made to celebrate female voices in the spanish music industry; my personal favourite of them is clap clap, their collab with anaju.

arde bogotá: arde bogotá is an indie rock band formed in cartagena (murcia) in 2017 by antonio garcía, dani sánchez, pepe esteban, and josé ángel mercader, known for the characteristic voice of their vocalist. i've actually been listening to their song antiaéreo for a while now, so i'm glad they're on this list!!! also i love how hard los perros (the song linked under the name) goes !!!

julieta: julieta is a pop and urban artist that sings in both catalan and spanish that goes from pop to reggaeton to house. i had not listened to anything from her but i knew her and i knew she was a girlie i should be on the lookout for. also y'all know how much i love when artists sing in another language that isn't spanish or english so !!!!!

GOMZ: GOMZ, whose real name is raúl gómez, is an indie electropop artist who first rose to fame (I KNEW I KNEW HIM) when he composed tu canción, the song that represented spain in esc 2018. his song sounds nice !!!

judeline: judeline was born in cádiz, and with only 20 years old, she's one of the biggest newcomers to the spanish urban scene. just as with julieta, tho i hadn't listened to any of her songs i knew who she was and yeah, this girl is gonna go far for sure !!!!

joe crepúsculo: NOT JOE CREPÚSCULO 😭😭😭 he's a well established indie pop / electronic artist known for his dance anthems and irreverent attitude. y'all i've seen this man live without knowing who he was and he knows how to give a show that's for sure. he's just a weird little man, just an absolute sicko.

fillas de cassandra: they're a female duo from vigo formed of maria SOA and sara faro who fuse galician oral tradition and modern sounds with a feminism focus on all her songs. i actually have listened to them before, specifically to their song lisistrata (PLEASE LISTEN TO IT AND WATCH THE MV IT'S GREAT), and after learning a bit more about them i might be a bit obsessed with them??? like just from their name ('daughters of cassandra'), their themes and sound, the fact that most of their songs titles reference greek mythology, and how much i loved tataravoa (the linked song, means 'great-grandmother' in galician) that i instantly put it in my playlist... also galician !!!!!!

bajocero x: bajocero x is the stage name of madrid-born daniel lópez, a newcomer to the urban pop scene who actually was a reserve artist in the previous benidorm fest! i like his sound he has potential!

SAMURAÏ: I CAN'T BELIEVE SAMU IS HERE LET'S GOOOO. samuraï is the stage named of aroa, also from madrid, an indie pop-rock artist with a very strong visual and vocal presence. GUYS YOU DON'T UNDERSTADN I'M OBSESSED WITH HER. like i've listened to all her songs so many times she's one of my biggest discoveries of 2023 if not the best i am so in love with her it isn't even funny. her last ep called artillería is so good and it also follows a theme in the naming of the songs which i love so so very much !!!!!! i'm struggling to pick only one song of hers to show to y'all (the linked song is very good btw one of my faves), so i'll give you three: the first song of hers i listened to, her collab with la la love you, and imo her best song in the last ep.

KAI NAKAI: kai nakai is the stage name of iratxe aguilera, a basque singer from gasteiz that does feminist urban music in basque language (euskera). i didn't know her and !!!!!! i do love me some minority language in a popular genre honestly

dulzaro: he's an artist from valladolid who fuses traditional castilian-leonese sounds like jotas, charros and corridos, with traditional instruments like cucharas, panderetas, panderos and botellas de anís, and modern sounds and mixes, to make a quite unique sound. i didn't know him but now i love him so much holy shit !!!! just look at the link and that music video!!!! it's chock full of castilian folklore and traditions and even the town screams castilla y león like it's so fucking perfect!!! and it's a jota !!!!!! oh how i would love this to go to eurovision fuck i know it'd have the same placement as eaea but i don't care this shit is so fucking good.

maría peláe: OH I LOVE HER. maría peláe, born in málaga, is probably one of the new generation of folclóricas [flamenco personalities] in the country, with flamenco full of social messages and almost an agressiveness to it. SHE'S AN ICON she's so funny and sassy and EVERYTHING!!! i love her song por si te vas so much (the music video for it is so good actually) but i might love el grillo (the linked song) even more like it has sooo much lola flores (the greatest flamenco artist ever) energy!!!!! i absolutely adore her

GUITARRICADELAFUENTE: MY MAN. born in aragón, he is a singer songwriter known for his unique sound and his traditional sounds - always with a guitar at the center, that combine rumba, flamenco and indie sounds. he's actually so good it's actually criminal he hasn't gone to benidorm fest. also i'm contractually obligated to link the song that made me discovered him because that song changed the course of my life, nana triste; but also his most known song that actually was who made him known to the public is guantanamera, a version of a traditional havanera that's almost become a classic here. also that mv is how i imagine paradise (it's the town where his grandma lives i think, in aragón).

#esc #benidorm fest #benifest #PLEASE LISTEN TO SAMURAÏ SHE'S INCREDIBLE AND SUPER CUTE AND NICE AND AAAAA #she's also a paramore fan !!!! one of her eps is called crushcrushcrush lol #also fillas de cassandra !!!!!!!!!! i love them !!

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mearpsdyke · 6 months

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en MI opinión experta la mejor época para ser un adolescente borrachín fue en 2017-2019. puros remixes argentos de canciones extranjeras. la industria nacional de reggaeton aún no estaba centroamericanizada en su dialecto. el trap bananero no pisaba con tanta fuerza aún. tiktok no existía. podías mandarte cagadas segura de que no te iban a filmar porque la calidad de las camaras de los celulares era una poronga. con $100 te comprabas 2 vodka 1 tequila y te alcanzaba para el remis de vuelta a casa. devuelvanme a 2017 no me alcoholicé como debía.

#zyan ted talks

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henessy · 1 year

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i think taylor should just forget about her usual intro and play willow (reggaeton remix) in all her latam shows like the strokes did with reptilia (cumbia version) at lollapalooza argentina 2017

#ya sé estoy monotemática. sepan comprender #lu talks

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hetubers · 8 months

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What is the Most Viewed Video on YouTube: Top 10 Most Viewed Videos of All Time

The world's most popular video-sharing platform, YouTube, has become a household name since its creation in 2005. With over 2 billion monthly active users, YouTube has become a go-to platform for entertainment and information. As a result, the most viewed video on YouTube has become a topic of interest for many people.

The most viewed video on He Tuber is a music video by Luis Fonsi featuring Daddy Yankee called "Despacito." The video was released on January 12, 2017, and has since amassed over 7.1 billion views as of January 2024. The song is a reggaeton and Latin pop song that has become a global sensation. The video features the artists singing and dancing in the colorful streets of Puerto Rico. The song's catchy tune and lyrics have made it a favorite among people of all ages and cultures.

Current Most Viewed Video on YouTube

As of January 14, 2024, the most viewed video on YouTube is "Baby Shark Dance" by Pinkfong Kids' Songs & Stories. The video was uploaded on June 17, 2016, and has garnered over 14.5 billion views as of this writing.

"Baby Shark Dance" is a children's song that features a catchy melody and simple dance moves. The video features animated characters, including a family of sharks and a group of children, performing the dance routine. The song has become a global phenomenon, with people of all ages and backgrounds creating their own versions of the dance and sharing them on social media.

The success of "Baby Shark Dance" can be attributed to its accessibility and appeal to a wide audience. The song's simple lyrics and melody make it easy for young children to sing along, while the dance routine provides a fun and interactive activity. Additionally, the video's colorful and engaging animation captures the attention of viewers of all ages.

It is worth noting that the popularity of "Baby Shark Dance" has also led to criticism and backlash from some viewers who find the song and dance routine repetitive and annoying. However, despite the mixed reactions, the video continues to be the most viewed video on YouTube, surpassing other viral hits such as "Despacito" and "Gangnam Style."

Historical Progression of Most Viewed Videos

The most viewed video on YouTube has been a topic of interest for many years. Since the launch of YouTube in 2005, the most viewed video has been a coveted title for content creators. Here is a brief overview of the historical progression of the most viewed videos on YouTube.

Initial Record Setters

In the early days of YouTube, the most viewed videos were typically music videos or viral videos. The first video to reach 1 million views was "Evolution of Dance" by Judson Laipply in 2006. This video remained the most viewed on YouTube until 2008 when it was surpassed by the music video for "Baby" by Justin Bieber featuring Ludacris.

Billion Views Milestone

In 2012, Psy's "Gangnam Style" became the first video to reach 1 billion views on He Tuber, setting a new record for the most viewed video. This video remained the most viewed on YouTube for several years until it was surpassed by Wiz Khalifa's "See You Again" featuring Charlie Puth in 2017.

Multi-Billion Views Achievements

Currently, the most viewed video on YouTube is "Baby Shark Dance" by Pinkfong, which has amassed over 9 billion views. This video surpassed the previous record holder, Luis Fonsi's "Despacito" featuring Daddy Yankee, which held the title for several years with over 7 billion views.

The most viewed video on YouTube has evolved over the years, with different genres and content creators taking the top spot. The current record holder, "Baby Shark Dance," shows that even children's content can become a global phenomenon on YouTube.

Factors Contributing to High View Counts

Viral Trends

One of the main factors contributing to high view counts on YouTube is viral trends. Videos that capture the attention of a large audience and are shared widely across social media platforms tend to receive a high number of views. For example, the video "Charlie Bit My Finger" went viral in 2007 and has since accumulated over 880 million views.

Music Video Popularity

Music videos are also a significant contributor to high view counts on YouTube. Popular music artists such as Justin Bieber and Taylor Swift have amassed billions of views on their music videos. The music industry recognizes the importance of YouTube as a platform for promotion and exposure, and many artists release their music videos on YouTube as a way to reach a wider audience.

Celebrity Influence

Celebrity influence is another factor that contributes to high view counts on YouTube. When a celebrity shares a video, their followers are more likely to watch and share it, leading to increased views. For example, when Jimmy Fallon and Justin Timberlake performed the "History of Rap" on The Tonight Show, the video went viral and has since accumulated over 100 million views.

Overall, a combination of viral trends, music video popularity, and celebrity influence are key factors contributing to high view counts on YouTube.

Impact of Most Viewed Videos

Cultural Influence

The most viewed videos on YouTube have a significant cultural influence on society. They have the power to shape opinions, trends, and even political outcomes. For instance, the "Gangnam Style" music video by Psy, which has over 3.8 billion views, introduced Korean culture to a global audience and popularized the Korean pop music genre. Similarly, the "Despacito" music video by Luis Fonsi and Daddy Yankee, which has over 7.4 billion views, helped to break down cultural barriers and promote Latin American culture worldwide.

Monetization and Revenue

The most viewed videos on YouTube also have a significant impact on the platform's revenue and monetization strategies. Popular videos generate a substantial amount of ad revenue for YouTube and the content creators. For instance, the "Baby Shark Dance" video by Pinkfong, which has over 8.2 billion views, has generated millions of dollars in revenue from merchandise sales and advertising.

Platform Evolution

The most viewed videos on YouTube have played a crucial role in shaping the platform's evolution over the years. YouTube has introduced several features and policies to cater to the needs of content creators and viewers. For instance, the introduction of the YouTube Partner Program in 2007 allowed content creators to monetize their videos and earn revenue from ads. Similarly, the YouTube algorithm has evolved to recommend videos based on user preferences and viewing history, making it easier for users to discover new content.

In conclusion, the most viewed videos on YouTube have a significant impact on culture, revenue, and the platform's evolution. They continue to shape the way we consume and create content online, and their influence is likely to grow in the future.

Potential Challengers and Future Trends

While "Baby Shark Dance" currently holds the title of the most viewed video on YouTube, there are several potential challengers that could surpass it in the future. One such contender is Luis Fonsi's "Despacito" featuring Daddy Yankee, which currently has over 7.3 billion views and is the second most viewed video on the platform.

Another video that could potentially challenge "Baby Shark Dance" is "Shape of You" by Ed Sheeran, which currently has over 5.1 billion views and is the fourth most viewed video on YouTube. Additionally, the rise of K-Pop and the global popularity of groups like BTS and Blackpink could lead to a K-Pop video eventually taking the top spot.

In terms of future trends, it is likely that music videos will continue to dominate the most viewed videos on YouTube. However, with the increasing popularity of gaming and esports, it is possible that videos related to gaming could also make their way onto the top viewed list.

Overall, while "Baby Shark Dance" currently holds the title of the most viewed video on YouTube, there are several potential challengers and future trends that could shape the platform's most viewed videos in the years to come.

#vines #tiktoks #video post #youtube #hetuber

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animusiem · 1 year

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Billboard USA Exclusion Zone Episode 10 (04/29/2023)

This week seems to be pretty busier that one meets the eye. Yes we have some shakeups especially in the top 10 with Idol by Yoasobi surged so high. But, these debuts are just all over the place. Well it's gonna be a blast anyways so let's get to this!

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4. "un x100to" by Grupo Frontera X Bad Bunny

You know since the regional Mexican sound is the biggest musical moment of 2023, I think I will make my stance on the broader genre of Regional Mexican sound. I get the appeal of these type of songs. Yeah it's ramshackled and the mix can be very live version of itself. But, the composition and the instrumentals here reminded me a lot of dangdut or koplo which is the Regional sound of my country. That said, I prefer the accordion one rather than the brass and acoustic bass that Peso Pluma helped popularized.

14. "Daylight" by David Kushner

So apparently this guy is a tiktoker who is making folk pop that wanted to get Hozier to be on this song. All I can say right now is that he's definitely the poor man's Bon Iver with lyrics leftover from Father John Misty's b-side

28. "Chemical" by Post Malone

This is actually quite decent. But, this song is sounded like Fine Line rejects with a bit more inspiration from Tears for Fears.

72. "Princess Diana" by Ice Spice ft. Nicki Minaj

I did listened to Ice Spice debut EP and this is handly the worst song on the album. Getting Nicki Minaj isn't helping this generic ass beat to work y'know. Also I'm kinda mad that In Ha Mood didn't get pushed hard enough.

84. "美しい鰭" by SPITZ

Now we are talking about a veteran alternative rock band getting their first hit ever on the chart. This song is so likeable this is basically why I like J-Pop more that anything else sometimes. The guitar solo is just immaculate as does the production which is I would describe as "RHCP if they chose jazz influence than rap influence".

91. "Peaches" by Jack Black

I will give the Super Mario Bros movie a 7/10 it's a great popcorn movie.

98. "Wish You The Best" by Lewis Capaldi

See this song is the prime example as to why I don't like Lewis Capaldi's writing. There's not enough detail to justify this guy's longing for someone's that he used to love. Glimpse of Us this is not.

138. "El Tonto" by Lola Indigo & Quevedo

I think I can see the differences between Spanish reggaeton and LATAM reggaeton. The main one is the differences in how it's produced. The Spanish one seems to have other influences such as the dance scene in Europe. So that's why you have those sfx sprinkle throughout it.

151. "El Tsurito" by Junior H X Gabito Ballesteros X Peso Pluma

....Huh?????? Why does this sounds like DistantCry made this beat???

157. "See You Again" by Tyler, The Creator ft. Kali Uchis

I'm so glad this song became a viral hit because this is probably one of his best singles ever. The production here has influenced RnB world till this day with the trumpet, the strings, and that heavy hard hitting beat drop. Kali Uchis' breakout performance, the longing from Tyler about his crush is just breathtaking. This is truly one of the best songs of 2017.

170. "Cruel Summer" by Taylor Swift

[Insert the "this should've been a singles" jokes here]. But like can you blame Swifties in this? This song is too good for being a deepcut. The production is probably one of Jack Antonoff's best and yeah it's a great song.

181. "Fragil" by Yahritza y Su Esencia X Grupo Frontera

Remember the trio that gotten viral for their song? Yeah they're back with Grupo Frontera with probably the weakest accordion Regional Mexican song so far.

188. "Seu Brilho Sumiu" by Israel X Rodolffo & Mari Fernandez

Now for Brazilian sound...yeah I don't really get it. I think the percussion is not my thing in general here.

189. "Moonlight" by Kali Uchis

Speaking of Kali Uchis. If the vocals were mixed a bit better this could've been a sexy jam. Instead it's just a good one.

I highly recommend everyone to listen to these songs.

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theadrianadrian · 2 years

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Vistar #38 #2017 #magazine #editorial #article #beauty #fashion #artist #musician #singer #publishing #reggaeton #sonyalpha #sonyphotography #sonya7riii #profoto https://www.instagram.com/p/ClLrd9SOJ17/?igshid=NGJjMDIxMWI=

#38 #2017 #magazine #editorial #article #beauty #fashion #artist #musician #singer #publishing #reggaeton #sonyalpha #sonyphotography #sonya7riii #profoto

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camilorico · 2 years

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About Karol G - the Woman who Rose to the Top of the Reggaeton World

One artist that I have been listening to non-stop lately is a Latin artist who goes by the name of Karol G. You may have heard her name as she has become famous not only in Latin America but globally. Karol G is a Colombian artist of mainly the reggaeton, Latin trap and hip-hop genres. Reggaeton is defined as a music genre that blends Jamaican influences of reggae music with Latin American dance hall music and hip-hop influences. Throughout her career, Karol G has collaborated with many well-known artists in Latin America, but in the U.S. as well, which have helped boost her to the global status she maintains now.

Her first hit was “Ahora Me Llama” (Now He Calls Me) featuring Puerto Rican trap artist Bad Bunny in 2017. She continued to produce more hits such as “Culpables” (Guilty) in 2018 with Anuel AA, another famous trap artist like Bad Bunny. There were rumors about her dating Anuel after they released that song, so by the end of 2018, the two released a song together confirming their dating relationship to the public called “Secreto” (Secret) which was another success. The two had a “power couple” status commonly compared to Beyonce and Jay-Z’s level in Latin America. Karol G continued to release more hits such as “China” in 2019, which was a collaboration with Anuel AA, Daddy Yankee, Ozuna, and J Balvin - all who are popular Latin reggaeton/trap artists, “Tusa” (Heartbreak) with Nicki Minaj in 2019, “Bichota” (Bad B*tch) in 2020, “Provenza” (Provence) in 2021, and she featured in Becky G’s song “MAMIII” in 2022. To clarify, these are only some of her top hits which had charted the billboards and even won her Grammy Awards, Billboard Music Awards, etc.

As we can clearly see, Karol G did not fail to stay relevant in the music industry since her breakthrough in 2017, with a new release or feature every consecutive year. However she did not immediately start out in the limelight when she began pursuing her music career. Karol G’s real name is Carolina Giraldo Navarro and she was born and raised in Colombia. She was first recognized for her musical talents when she performed on the Colombian version of The X-Factor in her country when she was 14 years old, and a few years later, she had her first record contract with Colombian company Flamingo Records and Puerto Rican company Diamond Music, and by then she chose her artist name to be Karol G. She released a few songs from 2007 to 2010 but they were not very successful, so she continued to study music at the University of Antioquia in Colombia. Karol G then traveled to Universal Studios in Miami, Florida where she presented her project but was rejected to be signed for a record due to her gender. Karol comments about it in an interview with PAPER magazine, "About nine years ago, I went to Miami for the first time; my parents got me a meeting [with the label]. I presented my project,’ she says, ‘and they liked it. But they said I could maybe be a songwriter, but a woman making reggaeton? That wouldn't work.’”.

This is because reggaeton has always been a male-dominated genre so not many women have become popular in the genre, with a few exceptions like Dominican artist Natti Natasha, Mexican-American artist Becky G, and Puerto Rican artist Ivy Queen, who became famous in the early 2000s and is known as the “Queen of Reggaeton”. However, it can be safely said that there are many more mainstream male reggaeton artists, like the artists I had previously mentioned. Even the “King of Reggaeton”, Daddy Yankee, who you have probably heard of before, is more globally known than the “Queen of Reggaeton”. In fact, I even asked my friend, who was born and raised in Dominican Republic until he migrated to New Jersey at 16 years old, if he knew who Ivy Queen was, and he said he did not know her, but of course when I mentioned I was writing about "reggaeton", the first person he thought of was Daddy Yankee.

However Karol G was not deterred by the rejection and continued to perform wherever she could back in Colombia with the support of her father, but by 2014 she moved to New York to try to boost her career in America again. Karol G saw an advertisement for business administration classes on the subway, which helped her learn more about the industry. From that time until she released “Ahora Me Llama” (Now He Calls Me) with Bad Bunny in 2017, Karol G released some more songs, one of them called “Ricos Besos” (Sweet Kisses) which was a hit in Colombia, and she signed with Universal Music Latino. Karol G created a strong foundation for her career which can explain how she is flourishing now as a global reggaeton icon and did not end up as a “one-hit wonder”.

I personally admire Karol G a lot because she is a strong advocate for woman empowerment and breaking the misogynistic boundaries of the reggaeton genre, which she has demonstrated through her rise to the top of the reggaeton world with songs confidently embracing her femininity and sexuality.

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From just looking at some of the lyrics from her breakthrough song “Ahora Me Llama” (Now He Calls Me), Karol G states, “Yo soy dueña de mi vida, a mí nadie me manda” (I am the owner of my life, no one controls me). Marty Preciado of NPR Music describes this song as, “A bass-heavy, unapologetic trap anthem to the power of femininity, soiled in hi-hats and heavy sub-bass, the song challenges hegemonic masculinity, singing about respect, love and sex-positive decisions… Karol G confidently states about the ownership, control and enjoyment of her life, femininity and sexuality.”

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Another one of her biggest hits, “Tusa” (Heartbreak) became a global anthem for women, as the reggaeton song is about a woman trying to get over her ex and heal and to remind her to “know her worth”. The collaboration with Nicki Minaj, who has been globally known as the "Queen of Rap" for years and is never ashamed to express her sexuality and boost confidence in fellow women, makes the song an even more powerful piece of motivation to help women move on to bigger and better things.

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Karol G’s song, “Bichota” (Bad B*tch) is another viral anthem of femininity where she created her own unique term from Puerto Rican word “bichote” which means “a powerful drug dealer”, to “a strong and empowered woman”. She explained further in an interview on the “The Tonight Show” with Jimmy Fallon, “I wanted to create a ‘bichota’ but its meaning is going to be: a bitch boss girl, powerful, great, incredible, doing her things by herself, you know?”.

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The last track that I think really shows Karol G’s support for women is not a part of any of her albums, since she was the featured artist, but “MAMIII” by Becky G is a reggaeton track about female empowerment for ending a toxic relationship, which many women can relate to.

I think these four songs that I mentioned were really unique in the reggaeton genre because since it is such a male-dominated genre, there are not many reggaeton songs about women ending toxic relationships or female empowerment. In fact, it is a very common trend in reggaeton for male artists to over-sexualize and objectify women in their songs instead, so the fact that Karol G made all these four songs that basically diss men and motivate women into hits, shows that the genre is moving in a new direction.

Altogether, Karol G is such an inspiring icon for women, proving that she overcame barriers due to her gender by making a name for herself in a genre that has barely been touched by women. I think it is important to recognize that she is truly changing the industry through her consistent billboard chart-topping hits, her creation of “bichota”, a new female-empowering term, and just her overall loyal global fanbase. In fact, the same company that rejected Karol, Universal Studios, actually offered her a contract 7 years later because of her global status, so I think she is living proof that anything is possible with hard work and dedication.

I would like to end this blog post with a motivating quote that Karol G said in an interview with the LA Times, “For years, I heard that women do not do reggaeton. Reggaeton and urban music belong to men, but as a woman, you belong to men. Now women are on another level. We are well prepared to lead. We've earned it and we're going to fight for it”. Hopefully we can continue to see Karol G progress with even more hits and be able to break the boundaries of reggaeton with her large influence. If you would like to take a listen to some of Karol G's music, I have linked her Spotify playlist below!

#reggaeton #karol g #women empowerment #bichota #Youtube #Spotify

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