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Phonk took inspiration from trap roots in the Southern United States in the mid-1990s. [2] Artists or musical groups like DJ Screw, X-Raided, DJ Spanish Fly, [3] DJ Squeeky, [4] and the collective Three 6 Mafia all helped pioneer the foundations for the genre to emerge many years later, with the Houston chopped and screwed seen as the precursor to the genre. [2]
The song "We Are Number One" became a meme in October 2016, and many videos were created. It became one of the fastest growing memes in history, with 250 videos uploaded in 5 days. [170] Les Misérables (2012) – Tom Hooper's film adaptation of the globally popular stage musical of the same name based on Victor Hugo's 1862 novel of the same name.
His first album, Beat Tape 1, managed to give Kordhell some visibility, but his first true success was with his songs "Live Another Day" and Murder in My Mind, which charted in Austria, Germany, Sweden, Switzerland and the United Kingdom, [7] [8] [9] and is still his biggest song to date. His success in drift phonk made him one of the pioneers ...
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Funk automotivo (also known erroneously as "Brazilian phonk" worldwide) is a musical subgenre that originated from funk mandelão, which itself descended from funk carioca, a genre that emerged in the outskirts of Rio de Janeiro in the 1980s. [1] [2] It is heavily related to funk montagem (funk MTG) and funk bruxaria. [3]
A phonk producer, DJ Yung Vamp's music draws inspiration from 1990s and 2000s hip hop, and also features samples from south rap and crunk. [2] He defined his music as "nostalgic and relaxing at the same time". [2] Radio Juicy – his record label – has defined it as "the super contrast of chill and hard". [11]
Zaytoven, whose beats heavily influenced the emergence of plugg music. The origins of plugg music are traced to the gospel and soul-influenced production style of Zaytoven, [12] and other southern rap influences, such as OutKast, [12] as well as to a loosely related subgenre of hip-hop called Chicago bop, which is a euphoric, fast-paced subgenre of drill music. [13]
[2] Ian Cohen of Pitchfork gave the album an 8.0 out of 10, saying, "even if these tracks aren't familiar to you from previous mixtapes, each asserts itself largely with same qualities that have defined 4AD's roster since the beginning: mesmerizing use of reverb and negative space, hooks derived from the phonetic and rhythmic qualities of words ...