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Links 1 through 10 of 356 by Wayne Marshall tagged internet

' So how is “Hit The Quan” bigger than the rapper the song took its name from, if Rich Homie Quan’s song is beating it in sales, radio spins, and Spotify streams? The answer, you can probably guess, is video. Billboard began factoring streaming video into the Hot 100 in 2013, with Baauer’s “Harlem Shake” hitting number one and demonstrating that a user-uploaded video counts just as much as a professional clip produced by the artist. Quan’s official video for “Flex” has over 75 million views on YouTube, while the original YouTube upload of “Hit The Quan,” by @iHeartMemphis’s label Buck Nasty Entertainment, stands at 23 million views. More popular, however, is a user-uploaded “Hit The Quan” video, with 33 million views. That video features a couple of teenagers, identified by their Twitter handles much as @iHeartMemphis is, demonstrating a dance for “Hit The Quan” that incorporates both the original Rich Homie Quan arm-swinging move, as well as an intricate series of dance movies tailored to @iHeartMemphis’s lyrics.

It’s this interactive element, of a dance that people can learn, make their own videos of, and laugh at others attempting, that makes “Hit The Quan” bigger than “Flex” despite all the other factors in Rich Homie Quan’s favor. Most of these videos spread via Vine, Twitter, Facebook and Instagram, with no one particular source video driving traffic '

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'Two years ago, on January 13, 2014, the Vine account Fab Cheerleader posted a video captioned “He hit the sign

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'In this second of a two-part series on selling contemporary African beats to colonial Europe, Lloyd Gedye explores the power relationships in these trafficking circles, and what it means for the artists and the scene. Just who benefits from feeding Europe’s dance floors?'

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Christina Xu tracks the surprising peregrinations of a Sao Paolo funk song through Thailand & Cambodia

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Mike Steyels on the latest Harlem dance to make the rounds, including this bit on the role of "social media": "Youtube and Soundcloud are how the sound is spread, even among those in the scene.:

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'The first record to carry the genre-tag "Jersey Club" was Tameil's 2001 Dat Butt EP, released on then-label Anthrax. In the early 2000s, Newark-based Club crowds tired of traditional New York house and turned to Baltimore's rhythmically aggressive, more hip-hop-friendly take, which made the tracks more accessible to younger audiences. … And it was amid the racks of the store [Music Liberated] that Tameil had originally met the icons of the Baltimore sound, the innovators who fused Miami Bass, house, breakbeat, and hip-hop into a frenetic, drum-laden dance music for the city: DJs like Rod Lee (“Dance My Pain Away”), DJ Technics (“Party People”), Scottie B (co-founder of Unruly Records), DJ Booman, KW Griff, and Jimmy Jones of the Doo Dew Kidz. …time is proving that younger innovators have more options. The Internet is now their Music Liberated: Soundcloud mixes, YouTube dance instructionals, and free, downloadable EPs have spawned an entirely new generation of producers.'

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'Abstract: Mashups, also known as bootlegs or bastard pop, epitomize current changes in the production of, and interaction with, popular culture. Mashup artists utilize computer technology to remix and reshape the culture around them, and to build and maintain community. By looking at the history of the mashup genre, the dispersed nature of the mashup community, the production techniques used by mashup producers, and the impacts of copyright law, this article demonstrates that the mashup genre and the worldwide community of its fans and producers are on the cutting edge of popular music, technology, and copyright. '

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jon caramanica on asap yams (& rocky): "Much of what you hear in Rocky — a fully assimilated take on hip-hop styles from across the country and from across time periods — can be traced back to Yams, who spent his formative years studying the genre, then learning how to transmit his taste to others. Hip-hop has long been obsessed with fealty to a specific place and time, and Yams’s vision of the genre as an open house, not a fortress, qualifies as a radical one. …

The Tumblr was entertainment, a map of modern hip-hop taste, and, for Yams, also a strategic gambit, “a setup.” Using Tumblr, a blogging platform that allows easy sharing of content, was a conscious choice: “It’s like advertisement.” He was building a reputation as an online tastemaker, spotlighting up-and-coming artists and advocating for a taste level that would be receptive to Rocky’s sound when it was unleashed."

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