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Found 79 results

  1. Eso Se han imaginado un orden distinto para el lanzamiento de singles que quizás habría dado mejores resultados? Sacarían canciones de un álbum y pondrían descartes? Cómo podrían haberse salvado ARTPOP, Witness y Queen? Comenten
  2. v/s — Ambas tienen bundles que van a ayudar con las ventas. El álbum de Ariana incluye el álbum en las compras de merchandising y el de Nicki viene con las entradas para su tour con Future. — "Sweetener" de Ariana tiene 15 canciones, 4 menos que "Queen" de Nicki que tiene 19. — Nicki tiene una versión especial del álbum físico para Target, pero Ariana ninguna. — Hasta ahora, Sweetener tiene 430m de streams en Spotify y Queen 183. Ambos con sólo 3 canciones liberadas. — Sweetener está #2 en el chart de pre-orders de Itunes, Queen en el #7. ¿Quién crees que venderá más? ¿Alguna de las dos tiene posibilidades de llegar al #1? ¿Crees que esto afecte en algo la amistad de ambas?
  3. Según Wikipedia: El funk carioca, funk brasileño, baile funk o funk de favela, es un estilo musical nacido en Rio de Janeiro. Este ritmo tiene una gran influencia del hip hop, utilizando el estilo del "Miami Bass" y la música electrónica para las instrumentales combinados con el rapeo de vocalización agresiva y contenido muy sugerente, también se le podría decir rap brasileño. La violencia en las favelas y temas más hedonistas son temas frecuentes en el funk carioca. En Brasil simplemente se le conoce como funk, cosa que no pasa en el resto del mundo donde se le conoce como "funk carioca" o de "baile funk". O consumo de playlists de funk brasileiro aumentou 3.421% fora do país nos últimos dois anos, mostra um levantamento do Spotify sobre a internacionalização do gênero. O crescimento global - incluindo o Brasil - foi de 4.694% desde 2016. Os Estados Unidos lideram a lista dos países que mais ouvem funk fora do Brasil. Portugal e Argentina aparecem em seguida. Um mapa de calor elaborado pela plataforma mostra o crescimento do gênero no exterior ao longo do tempo. Mapa de calor hecho por Spotify para ver cómo ha crecido el género en el mundo desde 2016: https://spotifymaps.carto.com/u/eliotvb/viz/f3f84bb3-c562-4304-9aba-2fad9c577e9b/embed_map Países que más escuchan Funk fuera de Brasil: 1º - Estados Unidos 2º - Portugal 3º - Argentina 4º - Paraguai 5º - Reino Unido 6º - França 7º - Chile 8º - Espanha 9º - Canadá 10º - Itália Fonte: Spotify A explosão de parcerias entre funkeiros brasileiros e artistas internacionais é um dos fatores que ajudam a explicar a internacionalização, segundo o líder editorial da empresa no Brasil, Bruno Telloli. Até agora, o funk mais ouvido fora do Brasil em 2018 é "Bum bum tam tam", de MC Fioti. Em dezembro de 2017, a música ganhou uma versão trilíngue, com participação do colombiano J. Balvin e do rapper americano Future. A faixa do gênero mais ouvida globalmente na história da plataforma também é uma colaboração internacional: "Vai malandra", de Anitta com MC Zaac, Tropkillaz, DJ Yuri Martins e o rapper americano Maejor. Artistas de Funk más escuchados fuera de Brasil: 1º - Anitta 2º - MC Fioti 3º - MC Kevinho 4º - MC Zaac 5º - DJ Yuri Martins 6º - Dennis DJ 7º - Nego do Borel 8º - MC G15 9º - MC Jhowzinho e MC Kadinho 10º - Jerry Smith Fonte: Spotify ¿Qué canción de Funk es tu favorita? Fuente: https://g1.globo.com/pop-arte/musica/noticia/funk-cresceu-mais-de-3000-no-streaming-fora-do-brasil-desde-2016.ghtml
  4. Hace varios meses que hay rumores sobre el fin de iTunes. Esta semana las ventas de discos y vinilos llegaron a ser mayores a las de ventas digitales y eso que el formato físico ya andaba por el suelo. Así que, ¿quiénes son las nulas en streaming que van a morir si se acaba iTunes?
  5. TOPICS PARA VER LAS PRESENTACIONES RELEVANTES DE LA NOCHE: Kendrick Lamar, U2 & David Chapelle - XXX / DNA / Kings Dead http://foros.fotech.cl/topic/331389-new-live-kendrick-lamar-u2-xxx-dna-grammy-awards-2018/ Lady Gaga & Mark Ronson - Joanne / Million Reasons http://foros.fotech.cl/topic/331385-new-live-lady-gaga-joannemillion-reasons-grammy-awards-2018/ Luis Fonsi & Daddy Yankee - Despacito http://foros.fotech.cl/topic/331391-new-live-luis-fonsi-daddy-yankee-despacito-grammy-awards-2018/ Childish Gambino - Terrified http://foros.fotech.cl/topic/331388-new-live-childish-gambino-terrified-grammy-awards-2018/ P!nk - Wild Hearts Can't Be Broken http://foros.fotech.cl/topic/331390-new-live-pnk-wild-hearts-cant-be-broken-grammy-awards-2018/ Bruno Mars & Cardi B - Finesse http://foros.fotech.cl/topic/331392-new-live-bruno-mars-cardi-b-finesse-grammy-awards-2018/ Rihanna, Bryson Tiller & DJ Khaled - Wild Thoughts http://foros.fotech.cl/topic/331393-new-live-rihanna-bryson-tiller-dj-khaled-wild-thoughts-grammy-awards-2018/ Kesha - Praying (feat. Bebe Rexha, Cyndi Lauper, Camila Cabello, Andra Day & Julia Michaels) http://foros.fotech.cl/topic/331396-new-live-kesha-praying-feat-cyndi-lauper-camila-cabello-andra-day-julia-michaels-bebe-rexha-grammy-awards-2018/ SZA - Brocken Clocks http://foros.fotech.cl/topic/331411-new-live-sza-broken-clocks-grammy-awards-2018/ Elton John & Miley Cyrus - Tiny Dancer http://foros.fotech.cl/topic/331413-new-live-elton-john-miley-cyrus-tiny-dancer-grammy-awards-2018/ Logic, Alessia Cara, Khalid - 1-800-273-8255 http://foros.fotech.cl/topic/331414-new-live-logic-alessia-cara-khalid-1-800-273-8255-grammy-awards-2018/ U2 - Get Out Of Your Own Way http://foros.fotech.cl/topic/331415-new-live-u2-get-out-of-your-own-way-grammy-awards-2018/
  6. Ed insinuó que no tuvo más nominaciones porque la Academia intentó ser más inclusiva este año. En las categorías más importantes hay harta presencia de personas de color a diferencia de otros años, siendo además Jay-Z el artista más nominado para este 2018. La mamá de Lorde dice que hay muy poca presencia femenina. En Álbum del Año la única mujer nominada es su hija. ¿Estás de acuerdo con alguno? ¿Cuál fue el robo del año? ¿Quién no merecía ser nominado?
  7. Aquí algunos de los momentos, polémicas y escándalos del año ¿Falta alguno? Nombralo en el topic 1. El Super Bowl más visto de la historia 2. Taylor Swift y su veleidad again 3. El estrepitoso fracaso de Katy Perry 4. Britney Spears cantando 10000000000% en vivo 5. Demi Lovato poderosa y negreando 6. El regreso de Kesha 7. Dominio latino 8. Beyoncé colgándose de todos y logrando un #1 después de siglos 9. Lady Gaga y su enésima enfermedad grave 10. Jelena
  8. Taylor & Katy may have sold millions but in 2017 their cultural power faded This year, some of white America’s biggest pop stars went through an identity crisis – and the biggest chart successes were from the underdogs Long have they ruled. Since the Spice Girls entered the world in an explosion of Lip Smackers, good times and Girl Power, there’s been a set of archetypes for white, chart-topping pop divas. Sometimes they’re saccharine-meets-sexy, sometimes they’re the victim, and maybe once or twice they’re the bad girl too. Sometimes they’re ridiculously costumed. What began with Britney, Christina, Jessica, and Mandy became Katy, Miley, Taylor, and Gaga. From them we have some of the most iconic pop of this generation, from the infectious “Toxic”, to the exquisite fantasy of Teenage Dream to Taylor Swift’s succession of critically acclaimed albums. But something has happened in 2017, something that was brewing since the lukewarm critical reception of Joanne in 2016, where what were once thought of as pop’s guaranteed punches have been failing to land. With its pared-back guitar, folksy vocals, and Americana aesthetic, Joanne received a mixed response from critics and casual fans, but at least it was an artistic risk. Miley Cyrus, on the other hand, trod well-worn ground with this year’s Younger Now, eschewing her controversially-adopted hip hop persona to revert back to her country roots; it proved to be a monumental critical flop, even with a cameo by ultimate Godmother Dolly Parton. And what should have been the two biggest pop princess releases of 2017 – Katy Perry’s Witnessand Taylor Swift’s Reputation – were both strangely regressive, embarrassingly tone deaf, and hopelessly forgettable. These albums aren’t commercial failures. Reputation moved 925,000 album units in three days and has since sold 1.28 million copies, making it the biggest release of the year. Witness debuted on the Billboard charts at number one. Younger Now, which faced slower sales, still managed to debut in the Top 10 album charts in the US, Australia, UK, and Canada. But sales don’t mean everything in pop culture, and ultimately what’s popular isn’t necessarily what’s good. Swift might be moving units, and chart rankings might be made, but “C’est La Vie” once topped the charts too. (And keep in mind, the Reputation sales pitch has been grossly engineered – fans were encouraged to buy multiple albums in order to better their chances of getting concert tickets, while the album has been embargoed from streaming services to encourage fans to purchase it physically instead.) Stans will always be stans, and when you’re as big as Katy, Taylor, or Miley, the radio will always play your song. But when it comes to the swing vote, the pop princesses that could once raise an army of screaming teens while simultaneously inspiring critics to muse at length over their artistic merits are failing. Reputation is not 1989, Witness is not Teenage Dream, Joanne is not The Fame Monster, and Younger Now is not Bangerz. Even with apparent commercial success, these new releases have failed to positively define a cultural moment the way they’ve so assuredly done in the past. If anything, despite this popularity, they’re inspiring a moment of cultural cringe. Instead, the songs that have been most well-received this year are also telling of white pop’s failures. Both the charts and the critics have been sticking up for the underdog; “Despacito” was the first Spanish language song to hit number one on the Billboard 100 since “Macarena” in 1995, with the Puerto Rican background of both singer Luis Fonsi and rapper Daddy Yankee feeling particularly important given the Trump administration’s inaction after Hurricane Maria devastated the territory. Nielsen reported that for the first time ever, hip hop/R&B was the most dominant genre of music listened to in the US, driving 24% of consumption. And “Bodak Yellow”, the first song by a solo female rapper since 1998 to hit number one, has dominated the cultural consciousness and earmarked 2017 as the year we collectively got fed up with pop privilege. This is not a missive against white female pop artists. Obviously it’s possible to be a white woman in pop and still have thoughts and ideas and songs that are inspiring and interesting and wonderful. Kesha’s “Praying”, for instance, was not only one of the year’s best pop songs, it proved to be a deeply haunting revelation for women dealing with sexual trauma. The entirety of Lorde’s Melodrama was likewise relatable with its musings on personal autonomy and growing up. On the other hand, purely decadent releases like Carly Rae Jepsen’s “Cut To The Feeling” and Dua Lipa’s stunning eponymous debut album provided feel-good anthems in a year when sometimes all there was to do was dance to buoyant pop.
  9. ¿Recuerdas remix que mataron versiones originales exitosas? 434,816,705 vistas Spotify: 531,817,765 643,897 vistas Spotify: 1,055,046,406 vistas Spotify: 409.744.410 32,102,072 vistas Spotify: 33.796.144
  10. Luego de esto la carrera de Missy se vino a pique Estando en el peak de su carrera en los mercados anglos, Shakira colabora con Beyoncé y la colombiana empieza a descender en su carrera. GaGa estaba en la cima de todos, llega Beyoncé y todo comenzó a decaer. Nicki venía de 2 hitazos ("Anaconda" y "Bang Bang") y luego de este tema no conocerá más lo que es un top 10. ¿Balvin será la nueva victima del yetismo de Beyoncé? ¿Crees que Beyoncé es la mujer yeta de la música?
  11. Existen diversas opciones de consumo de música, como: Vía streaming (Spotify, Apple Music, YouTube y otros servicios) Compra de discos digitales Compra de discos en formato CD/DVD Formato vinilo Descarga Y tú fotechito ¿de qué manera escuchas música? y ¿por qué prefieres esa opción? ¿A qué artistas compras discos y a qué otros simplemente los escuchas por Internet?
  12. Eso ps. ¿Alguna era que dividió las aguas en la carrera de tu fave? ¿Por qué? ¿Cómo era todo antes? ¿Y después?
  13. Eso ¿Tu fave da el ancho para hacerlo? ¿Hay alguna supuesta "consagrada" que no lo lograría con éxito? ¿Quién podría superar el icónico The Immaculate Collection?
  14. RIHANNA - ROCK IN RIO 2015 / 2011 KATY PERRY - ROCK IN RIO 2016 / 2011 https://www.youtube.com/watch?v=mIvFImaWdnA BEYONCÉ - ROCK IN RIO 2013 https://www.youtube.com/watch?v=mTALSmk9RZI BRITNEY SPEARS - ROCK IN RIO 2001 SHAKIRA - ROCK IN RIO 2011 ¿CUÁL DE ESTAS ARTISTAS TE ENTRETUVO MÁS?
  15. ¿A quién pondrías en la lista? ¿Quienes han flopeando últimamente, mereciendo estar en la lista? ¿Alguien ha salido del flop? ¿Quienes se salvan?
  16. Pitchfork‏ Cuenta verificada @pitchfork 9 h Hace 9 horas Más "Rihanna Voice" has become one of the most imitated sounds in pop Is Rihanna the Most Influential Pop Singer of the Past Decade? Turn your ear a certain way, and you can hear her everywhere. When people write about Robyn Rihanna Fenty’s singing, they often use words like “flat” or “thin” or “limitations”—something that suggests her voice is the secret defect hiding in her otherwise-brilliant plumage, the limp disguised by the swagger. She “doesn’t have the range,” as the deathless meme had it. It is indisputably the aspect of her art that gets the least critical attention. And yet listen to radio, when Rihanna isn’t on it—which, granted, isn’t too often—and you will hear molecules of her vocal style swarming around everywhere. Even-toned, husky but nasal, tinged with island breezes but essentially free of regional markers—that describes a whole lot of pop songs now, by a whole lot of people. My ears perked up most recently at the beginning of Lorde’s “Green Light”: Between the the lightly taunting way Lorde clips the word “bite” and the growling dip to “I hear sounds in my mind,” Rihanna’s ambient influence creeps in, like blunt smoke curling under a closed door. Once you realize that Rihanna is the most influential vocal stylist of pop’s last decade, it becomes almost impossible to escape her. Pick any major contemporary dance-pop song in the ether, the sort that loudly greets you when you push open the big glass doors of a boutique clothing store—“Lean On,” by Major Lazer, for example, with its needling and vaguely militant chorus chant by the Danish singer-songwriter MØ—and then close your eyes and imagine it sung by Rihanna; Diplo, who wrote the song, sure did. Or imagine Justin Bieber’s “Sorry” sung by Rihanna, with the breathy verses and the reedy, pleading chorus. Once you do, it will be difficult to hear Bieber’s puppyish original as anything other than a glorified reference track that never found its proper home. Rihanna Voice is a complicated thing. It is infinitely adaptable; Robyn Fenty herself is from Barbados, and in some interviews and behind-the-scenes videos, her Bajan accent flavors her conversation. A linguist with no knowledge of Rihanna might listen to “Umbrella” and deduce that the singer must have been born in 1980s Wisconsin, to a South Bostonian father and a Jamaican mother, and spent winters in a British charm school. And it’s a subtle reminder of the cultural and racial powder kegs we step on when we talk about voice and origin: When Fenty actually dipped into full patois for her 2016 single “Work,” millions of confused Americans called it gibberish. But the net effect of this regional confusion on her catalog, and it’s influence on pop, is incalculable. ARTÍCULO COMPLETO: https://pitchfork.com/features/overtones/10052-is-rihanna-the-most-influential-pop-singer-of-the-past-decade/?mbid=social_twitter le metí harta tijera y es bn interesante leerlo completo la vdd
  17. ¿CUÁLES FUERON LOS CAHUINES MÁS ICÓNICOS? ¿QUIÉN LE GANÓ A QUIÉN? ¿QUIÉN QUEDÓ [email protected]? ¿EXISTE ALGUNA POPERA MÁS DESPECHADA QUE TAYLOR?
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