Kazuo

Interview

Fall 2020 Designer: Stephanie Miano (Interaction Design )

an interview with KAZUO KAZUO KAZUO

Kazuo is a young rapper based out of NYC who spent his life growing up between Japan and the States. He recently dropped his first studio album AKUMA and Tastemakers wanted to sit down with him and talk to him about the project and his inspirations.

Tastemakers Music Mag (TMM): Do you want to start by introducing yourself really quick?

Kazuo: My name is Kazuo, I do music, I’m hella introverted; I pretend that I’m not because ya know, nobody really likes the quiet guy and I hate being told that I’m quiet, because it’s just like I have nothing to say, what do you want me to do about that? But yeah [laughs], I make music, I produce, I make videos, I make either people laugh or angry at me. It is what it is.

TMM: It is what it is. [laughs]. You say you’re introverted, but I feel like that’s not the vibe that I’m getting from you as someone who’s also introverted.

Kazuo: Yeah you can just kinda put on a mask and then just come off as really interesting. You witness a lot of extroverts so you’re able to copy them, but it’s really exhausting doing that 24/7. Luckily, I only get to do that like right now.

TMM: Nice, sorry if this is draining you at all [laughs].

Kazuo: No, this is not like a chore to me [laughs], this is actually pretty fun!

TMM: Glad to know! Okay, I got some fun questions now. So you lived here and in Japan, what was that like and how did that influence your music and your style? I see a lot of aspects of that on your Instagram also.

Kazuo: It was pretty exhausting going back and forth. Basically, I was born here and spent my first five years of my life breathing here and then to Japan, but I don’t really remember my early years so my first memories came from Japan. So everything when it comes to like “normal” things, the standard is Japan to me, then I came back here when I was like 15 and it was just like crazy culture shock. I'd visited the states before like a few times, but it was never long enough for me to ever get used to it until I moved back here. It was just crazy like the people I would deal with like back in Japan versus the people I had to deal with people here and it was pretty interesting. It provided me so much perspective and pretty much shaped how I am now. There's only a few people I know from my life who've had a similar experience with me and I just like sharing that because I think it is kind of, you know, unique and I want people to either relate to it or just like get an understanding of some of like a lifestyle that's different from theirs.

TMM: Right, that’s valid. I know you also liked to release videos on YouTube back in the day.

Kazuo: Oh, yeah.

TMM: Was that your way of introducing people to that? I know you made one on American school versus Japanese school. Kazuo: Oh, that’s a throwback. I started making those out of boredom, I think I made the “Why I Hated Japanese School”. My old laptop broke and I always wanted to make that type of video, so the audio Is recorded from my old iPhone 6. I didn’t even script the video, I just had little bullet points like okay talk about this, put it in your own words. I was making songs like I had this song called “GAIJIN”, I guess it’s still out [laughs]; I have a song called “GAIJIN” and I plugged it in “Why I Hated Japanese School”, but I just wanted to get to the more complex stuff, like the things I wouldn't just bring up in a song just to explain further about my life. Also, I was trying to be an aspiring comedian, so that was my outlet to tell jokes.

TMM: Yeah, that’s the way to do it. Did you always know you wanted to do some type of entertainment, even before you started releasing music?

Kazuo: Yeah, absolutely. I've always thought that, you know, since a young age that I’m kind of funny. Also, I don't want validation from other people, but I also do want validation.

TMM: Story of my life; I love saying that I'm funny to myself, but I hate when other people say I’m funny because then it comes with an expectation.

Kazuo: Exactly. I hate when people introduce me as the funny guy, like just find out for yourself.

TMM: Exactly. Where do you draw your inspiration from, both for your music and in general?

Kazuo: I don't want to come off as narcissistic, but just me, honestly. I don't know. I listen to a lot of music and I'm always open for inspiration. Like I'll listen to anything and I do listen to anything, you know, nothing's off limits for me. If I hear something that I just like, whether it's somebody’s vocal cadence or like a lyric or an instrument I like, I'll be like, “Yo, is there a way I can put my own spin to this or apply this to my own work.” So, you know, stealing is sometimes cool. Just don’t steal too much [laughs]. I'm always like, looking for inspiration and I'm the type of guy that likes putting my own spin onto things. From there it can even just be like a lyric I had in my head and that’s where the journey starts basically.

TMM: So spinning off that, you dropped a whole bunch of singles before and then you just released your album. What prompted you to drop a full project?

Kazuo: Fan pressure. Honestly, fan pressure. I was making albums as like side projects; I never dropped an album before AKUMA, but I'd always wanted to drop a project, like an album of my own. I went through so many traps of concepts I had, and it would either not go anywhere, I’d think I'm just not like talented enough to pull up this, I don't have enough resources for this, or I'm gonna have to pay some somebody $700 to do this. Just things like that, like lack of resources. Or let's just say I wanted to make a synth wave album because I'll go through a synth wave phase for like two weeks, then after making three synth wave beats I'm like, “Okay, I don't want to do this anymore.” So yeah, it's just like some ADD stuff too, you know, I can't just like stay

committed to a theme or concept. I mean it's surprising I even dropped that album, honestly.

TMM: No, I mean, it was good. I liked it.

Kazuo: Thank you, thank you. You can you can hear the inconsistency like the beats keep on changing.

TMM: Well yeah, I was going to ask what’s the story behind it, because I feel like there were so many themes and then with the “SADBOYRADIO” track, I feel like the vibe changed completely.

Kazuo: [Laughs] Yeah!

TMM: It was good! I was just so caught off guard.

Kazuo: Yeah, it's a thing where I don't want two songs to sound the same. It's like, “I already did this so it's on to the next one.” Also, because I feel I don't like repetition too much, especially with my music. So if I feel like this goes on for too long, I’m like, “Okay, I gotta change it.” With ‘BOOMBOX,” you know, it sounds like a rap song from a PS1 game, so by the third verse I don't want you to hear that same drumbeat anymore so I'm gonna switch it up. I'm gonna have choirs and have this verse be a little more personal. So that's just stringing a bunch of ideas together. Like sometimes in a song I don't just have like one thought, it's just a bunch of other thoughts that I tried to put together and hopefully it all works out. Even if it doesn't make sense, that's just me in general: I don't make sense.

TMM: I feel like they did make sense. I was able to follow along and it told a story is what I got from it. It seemed very personal, especially if you actually listen to the lyrics. The beats are good regardless, but if you actually take in what you're saying, I feel like there's a story behind it and it’s very well done.

Kazuo: Yeah, that means a lot, actually. With “SADBOYRADIO” there's three beats and those were originally three separate songs. So I would hear them, and I realized the beats are kind of similar. So I already had the idea in my head that I should put the songs together, but they also kind of have a common theme of loss and being attached to things that already happened. So yeah, it was like the right idea to make the song into one.

TMM: Well it worked out very well. What's your favorite track off the album if you have one?

Kazuo: Alright, what's my favorite song off the album? Yeah, “SADBOY RADIO,” definitely. Because, you know, it's a very personal, vulnerable track. I also like “YABAI96” because that was the first song I had completed for the album. I was making that alongside “SADBOYRADIO” which are two very different songs; one is loud as hell and the other’s just very melancholy. I like “YABAI96” because I went crazy on the production on that. People on my discord, like “BOOMBOX,” which I thought that was very interesting. Yeah, those are those are my favorites. I mean, I like all of them, but those are my personal favorites.

TMM: Okay, good to know. Are you working on anything else right now? What can we expect for the future?

Kazuo: Oh yeah, yeah, yeah, yeah, yeah. I've spent like this whole summer like just working on stocking up on a bunch of new stuff; making a lot of new material that doesn't sound like anything I had released before. Working with other producers; just like changing up the Kazuo sounds. I've moved on from AKUMA, I mean I'd still be down to perform the songs, but I've moved on mentally from it [laughs]. All I can say is, like, don't expect that that sound you know, because I've already done it. You’re going to be like “what the hell” when you when you first hear it.

TMM: Okay, well I'm excited to be surprised.

Kazuo: You're going to be surprised or really like disappointed.

TMM: I feel like it's probably going to be good. That’s what I'm feeling; I feel like I haven’t been disappointed yet.

Kazuo: Yeah and it's 100% fine if you are.

TMM: Those are all like the serious questions I had, so now there's just some general questions I had. Are you listening to anyone specifically right now or do you have any music recs?

Kazuo: Alright, so most of the music I listen to is artists that you shouldn’t play in front of your crush. I listen to a lot JPEGMAFIA and like, please don't play that in front of your crush.

TMM: You know what, if they don’t listen to JPEG, then they're not meant for you.

Kazuo: [Laughs] Exactly. There’s this band I’ve been obsessed with since they came out called Bleachers ever since like 2014 and I just listened to all of their deep cuts. I’ve been to like six of their shows; it's unhealthy.

TMM: I feel that, sometimes it gets better the more you go. I spend a lot of my money on concerts, so I get it.

Kazuo: I would enter free ticket giveaways and I would win like most of them.

TMM: Oh, yeah. That’s one of the best parts about being a part of this magazine. Since I shoot concert photography, I get to go to so many shows and that was truly how I spent all my last semester.

TMM: Last fun question. I know you skate; how long have you been skating for?

Kazuo: I kind of started in high school; I would mainly cruise. I can do a few tricks here and there, but it would mostly be to just like go from one place to the other. Like to get to the train when I didn’t feel like walking.

TMM: Well, that's all I had. Thank you so much for like sitting down with us.

Kazuo: Of course! Sorry if I talked too much.

TMM: No, that's what I needed [laughs]. This is good content.

• Rayven Tate (Mechanical Engineering)

Editorial

Power

Fall 2020 Surge is a new microgenre of hip hop that has taken the far corners of the Internet’s music communities by storm with its enigmatic and postmodern take on trap music. It combines ultra-fast paced melodic tread music with a hazy cloud-rap atmosphere and a lobit production style that renders the music blocky and glitchy. This is generally accomplished by encoding the songs at an intentionally low bitrate to achieve data compression. This may seem like a gimmick at first, but this production style achieves sounds that conventional methods could never imagine. There’s also a very specific aesthetic associated with the genre that can best be described as deepfried nightcore, with video game and anime imagery obscured by M.I.A.-esque computer vomit graphic design. Surge as a genre is still very new and loosely defined. It’s also known by a variety of names, from surge to hexD to crushed trap, which all can refer to slightly different things depending on who you ask. The difference between what you might call surge or hexD is exceedingly grey and nuanced, but what generally separates them is that hexD is more adjacent to Soundcloud remix culture and is even more lofi than surge’s often more melodic tread and cloud rap inspirations. If any group has made a name for themselves in the genre so far, it’s Reptilian Club Boyz, a Tennessee-based collective of producers and rappers. Currently there are ten members, most notably, rapperproducers Diamondsonmydick, Hi-C, and Cartier’GOD. They began releasing music in 2017 and early singles like “prettyboydemongang anthem SURFS UP WHITE BOY ROCK N**** SWAGG” showed a progression from cloud rap towards the evolving surge style. Still, they didn’t really come into their own until 2019 with the release of the fantastic single “ohh yeaaa juiced up pop punk emo swag” and later the mixtape ReptilianClubBoyz Bizzare Adventure Vol. 1. The members have also released some of their biggest singles by themselves. The psychedelic video for Hi-C’s “LSD on my Tongue” has racked up 70 thousand views on YouTube, making it easily one of the most popular surge songs. Cartier’GOD’s appearance on “Cartier’god Icedancer (Intermission)” from Bladee’s Icedancer album was also a very high profile feature that brought a lot of attention to the growing scene. The other artist that has gained some notoriety is $PIRIT GURLZ, the duo of Eternity God and Y2Kri$i$.Their debut album 12:12 represents a softer and more

The surge scene is still very small, but a number of artists are taking its sound in a variety of directions.

introspective side of surge, with bouncy beats and lyrics you can actually understand. The duo have a signature high-pitched, robotic vocal style that along with their unique production choices makes a $PIRIT GURLZ song instantly recognizable. For example, “Angels With God” is made up of a simple swirling synth pattern over which the two rap about drugs, escapism, and religion. “I’m so lost and so unguided / My own goals have always been slighted / By life and its shitty fucking cruel ways / I always tend to view everything sideways / I don’t care if the drugs still hurt me” raps Eternity God in one of his best verse, highlighting the lyrical depth that makes the duo stand out. Despite those being the biggest artists in the genre, the most well-known hexD project is actually a DJ Mix by tomoe_✧theundy1ng (a.k.a. cargoboym) called Rare RCB hexD.mp3. The mix is a 15 minute collection of sped-up, bit-crushed Reptilian Club Boyz singles. Originally just uploaded to Soundcloud, the mix got a lot of attention after being uploaded to the dismiss yourself YouTube channel the next month. The dismiss yourself channel and discord server is at the center of the genre and is where many hexD releases end up, as opposed to major streaming platforms. Dismiss Yourself’’s Surge Compilation Vol. 1 is also often cited as the best entry point to the genre for new fans, as it features a variety of essential surge tracks. Rare RCB hexD.mp3 is also a good place to start, however, as it throws you right into the depths of bitcrushed music with a variety of different sounds on display. Perhaps the most interesting group in the genre is Fax Gang, made up of producers Blacklight, GLACIERbaby, and maknaeslayer and rapper PK Shellboy (and NAIOKI). Their EP FxG3000 shows a different side of hexD that borders on trance, with layered, intricate rhythms and smooth, repetitive vocals. The best example of this is the epic closing track of their EP, “Jeopardy,” which builds upon itself over six and a half minutes, adding layer after layer of distorted synths

Editorial Designer: Roman Distefano (Graphic Design) and trap percussion that obscure the vocals behind a wall of sound. The result could best be described as Nightcore Lil Uzi Vert playing from a broken arcade machine in a windtunnel. What sets Fax Gang’s production apart is the way in which it feels designed so intentionally for the lobit style. For some hexD music, the bitcrushing can still feel like an afterthought, but Fax Gang’s producers meticulously craft beats that take full advantage of the unique sounds bitcrushing can achieve. Rapper PK Shellboy also has some of the most compelling flows the genre has to offer. Tracks like “Jailbroken” really show off the variety of vocal styles he, along with the magic of autotune, can execute, as his voice seamlessly switches between a distant, robotic whisper and distorted shoutsinging. His feature on digital hardcore artist NEUPINK’s “swordflower wounds” is made up of otherworldly autotuned moaning along with more traditional rapping, making it one of the most unique vocal performances you will be able to find. The surge scene is still very small, but a number of artists are taking its sound in a variety of directions. Yabujin takes surge towards the brighter atmosphere of producers like Clams Casino and Whitearmor with tracks like “Hardstyle Drill 2009 Nokia Angelz 1.6 مسدسات مجمدة” that feature icy synth melodies, or the ethereal and atmospheric “GARDEN” from his Baroque EP. Anthony1 and T€∆M M£K4NØ have taken the aesthetic and styling of hexD to happy hardcore and mashcore with their album Classic_Project_2000.3gp featuring ultra fast-paced, sample heavy chaos. Some other notable surge or hexD artists include Dior5tar, Mokshadripp, Aero Gros M, and DiGiGHOULS, who all have their own niche within the community. In such a young and small genre, there is a huge amount of room for experimentation which is highlighted by just how different these artists’ music can sound while still being under the banner of surge. It is still too early in surge’s history to really predict whether the genre will have the staying power of any other number of Soundcloud offshoots, but the exponential number of hexD remixes popping up day after day is encouraging. Either way, surge is an incredibly interesting and subversive take on modern trap music and internet aesthetics that says a great deal about the

• Grant Foskett (Computer Science)

Fall 2020 future of rap music.

The music community on YouTube is a rabbit hole. While most users of the site are familiar with the official channels of artists that post their tracks and music videos, the community extends far beyond the professional uploads made by an artist’s management. From lyric videos to musical parodies, songs are always being rehashed, clipped and edited in every way possible. However, in this era of increasingly complicated copyright disputes on the platform, it’s growing harder to draw the line between an original transformative work and an instance of plagiarism. To understand the full spectrum of this issue, it’s important to comprehend the kind of musical content being posted onto YouTube and the ways in which each form of content interacts and challenges the current copyright law. In most instances, YouTube content involving the usage of an artist’s music often results in songs being entirely unchanged. In the case of lyric videos, creators will simply display lyrics on screen as the song plays out. Cover tracks and edits also involve such minimal changes, such as the Nightcore trend, where songs have their pitch and time sped up by 10–30%. While altering the song to some extent, the changes aren’t monumental enough to distinguish it as inherently separate from the original. In fact, these covers and edits are classified as derivative work, and are labeled as a clear copyright infringement. While most artists will not take the time to file a copyright violation against every instance, it’s very common for YouTube to honor these copyright takedown notices from these large labels and publishing entities. Ultimately, the doctrine of fair use simply doesn’t cover these instances of utilizing copyrighted material, and it’s clear to see why. Beyond minor edits to pitch or the addition of some visual element, the music is left largely intact.

However, while minimal changes are made to songs in a vast majority of cases, for musical parodies, songs are often altered in a

Designer: Megan Lam (Architecture)

Fall 2020 much more noticeable and tangible manner. Take for instance the trend of Minecraft parodies, where popular pop songs have their lyrics and instrumentals altered to reference the game. One of the most popular songs, “Revenge” by CaptainSparklez, is a parody of Usher’s “DJ Got us Fallin’ In Love.” Utilizing a separate instrumental from the original, the lyrics are also entirely unique and completely removed from the work that it is parodying. Other recent trends such as medieval parodies or 8-bit parodies of songs all arguably follow the same trend, altering the original work in a way that makes it clearly distinguishable. However, the question of whether or not it infringes copyright is an entirely different matter. While these examples certainly aren’t carbon copies of the works they’re utilizing, the doctrine of fair use allows the limited usage of copyrighted material according to four factors. The first factor, involving the purpose and character of the use, essentially questions how transformative the usage of the copyrighted material is. For the use to be fair, it has to advance knowledge or the progress of the arts through the addition of something new. The second factor tackles the nature of the work, the idea that facts and ideas are not protected by copyright, only of parodies to still exist on the YouTube platform. Remixes on the their particular expression or fixation are allowed protection. The other hand, touch upon the grey area between the blatant use of a third factor looks at the amount and copyrighted work, and the more transformative substantiality of the copyrighted work For the use to be aspects of a parody. that has been used, generally the less copyrighted work utilized, the stronger fair, it has to advance Remixes, mashups, these forms of content are arguably nothing but a usage of the case of fair use. The last factor knowledge or the copyrighted material. Unlike parodies that take considers the effect that the infringing the liberty of altering the work to some extent, use has had on the copyright owner’s progress of the arts remixes and mashups not only utilize an artist’s ability to exploit his original work. If the infringing material harms the market through the addition material, but possibly the material of multiple artists. However, the platform itself is still rife of the original or becomes a market of something new. with remixes and mashups involving the wildly substitute, the claim of fair use is less popular songs, garnering thousands if not valid. As a result, even if a parody is altered lyrically and musically millions of views. In many cases, these remixes are actually licensed from the original work, whether it is covered by fair use or not involves and claimed by media labels, with some of the more popular mashups a whole number of different considerations. already claimed by an artist’s publishing group. For most creators

For most established parody artists, such as Weird Al, they will specifically contact the original artist for permission to utilize copyrighted material, helping support claims of fair use. However, Weird Al is also an established professional, with a legal team specifically equipped to deal with fair use legislation. For smaller independent creators, such as the aforementioned CaptainSparklez, his parody “Revenge” has actually been hit by copyright infringements

in the past for utilizing an instrumental too reminiscent of the original song, prompting a second upload with reworked music. With this in mind, parodies are often more successful if their creators have the energy and support to argue their fair use claims, which means that smaller creators often don’t have the luxury of going through the entire legal process. However, parodies do still have some leeway in navigating copyright infringement due to the way they specifically alter the original work. The altered lyrics and instrumentals of parodies do offer some aspect of fair use, which enables a large number on the platform, it’s often too troublesome to bring a counterclaim against a copyright infringement takedown notice. As mentioned before, the entire process can not only be lengthy, but require legal advice and counsel, something that small creators are most likely unable to obtain. In this vein, many remixes and mashups exist on the platform solely because they are either too small to gain the attention of an artist’s publishing label, or because they are claimed by the label themselves and therefore gain a license to use the original work. Ultimately however, the concept of fair use can realistically still apply to remixes and mashups under the right circumstances.

Given that mashup and remix creators often alter and splice the original material, as long as the work is transformative in nature, fair use can be posed. A great example of this is the work uploaded by YouTube channel SilvaGunner, which posts remixes and mashups of primarily video game music. With over 581 million views, the channel was often a target of copyright infringement. One particular use of a Splatoon 2 song led the channel to be terminated, although the channel was able to appeal to Youtube to reinstate it. This legal

Iti od quiatas mo quos voluptur sandiat qui consed etur scrutiny only intensified as the channel began to grow, with a second mo bero ene pro blaboribusci voloreptate deniaturit, termination occurring shortly after. It was only after the case was acius solo que ne magnatus aut eos dio. Itae sim idis utat.again escalated up to YouTube and resolved, that channel was able to Explab incipistiae res ut essus autatus expla idem resume posting. In both these cases, the channel was able to rightfully claim fair use, given that the nature of their work was transformative, faceper ibusciminus quae quiatur archit persperatior completely departing from the intent of the original. Additionally, sit adiscim aximinus demque debitat doles aceria nis their work wasn’t a market substitute or destroying the market of the inulpa adiae volum excearibus doloribus es vendus rent qui ute omnimin pliquia ndaesci atiaspedici ullest, original work, providing further basis for their claim. While the remixes ut dic totaquiam fugia ium que la sequia ea in reptatus did indeed utilize music that wasn’t rightfully theirs to use, the channel was able to leverage on the fact that their work was significantly sim ullitatur asi a nem sequo volla volorehento et et, et distinguishable and separate from the material that was copyrighted. doluptatus eumeniam, iliquas expedis ipis debit dolupEven in the realm of remixes, the concept of copyright is muddled, turerem dolupti buscid maximus. evaluated only on a case by case basis. At. Musanis numenim de es vendi as nobisciatur? Quiam, que ventia demquis erferfe rrovit rescia vit et

Even in the realm of remixes, the concept of copyright is muddled, evaluated only on a case by case basis.

Mona Yu

While it’s more common for the music content on YouTube to be infringing on copyright, the basis of fair use is still wildly important when considering the sheer volume of remixes, parodies, and mashups that are being published on the platform. From remixes of Frank Ocean and Minecraft to parodies of Britney Spears’ “Toxic,” the sheer amount of variability that fair use fosters is valuable in inspiring musical expression and exploration. YouTube presents itself as a perfect platform for this ongoing dispute over freedom of expression and protection of individual property, and the music community that it fosters helps advance the debate over fair use.

• Mona Yu (Computer Science and Criminal Justice)

CROSSWORD

1

5 4

6 7

8 2

3

ZOOMED

DOWN

1. What was Anderson .Paak’s stage name before his current one? 2. What city is UMI from? 3. What song did Phoebe Bridgers and Maggie Rogers cover after the 2020 presidential election? 7. Which female has the longest charting album?

ACROSS

4. What’s Weyes Blood’s real name? 5. Avril Lavigne’s most streamed song on Spotify is ____. 6. Who did Phony Ppl perform with on NPR’s Tiny Desk Concert? 8. Mitski’s first album was _____.

Can you tell which six album covers we’ve zoomed in on?

Charli XCXCharli — Meghan Trainor A Very Trainor Christmas — Snail MailHabit — 2nd Row:

Alligator — The National COINThe Indigo Violet EP — Ctrl — SZA 1st Row: 8. Lush 6. Megan Thee Stallion 5. Complicated 4. Natalie Across:

7. Adele 3. Iris 2. Seattle 1. Breezy Lovejoy Down:

LOCAL PHOTO

Still Woozy, Sinclair

Photo by Rayn Tavares (Mechanical Engineering)

SPOTIFY PLAYLIST

The lifespan of “meme music” has certainly shifted with the popularization of Tik Tok, but each of these songs was at least persistent within its space and time, for better, or mostly, for worse.

Find the playlist at https://sptfy.com/qgxR

• Willa Shiomos (Computer Science and Design) 1. “Never Gonna Give You Up ” — Rick Astley 2. “All Star” — Smash Mouth 3. “Mooo!” — Doja Cat 4. “Gucci Flip Flops” — Bhad Bhabie 5. “Friday” — Rebecca Black 6. “We like to Party! (The Vengabus)” — The Vengaboys 7. “Axel F” — Crazy Frog 8. “The Gummy Bear Song ” — Gummibar 9. “Harlem Shake” — Bauuer 10. “Hotline Bling” — Drake 11. “Baby” — Justin Bieber 12. “Sweatshirt” — Jacob Sarotious 13. “Fireflies” — Owl City 14. “Crank That (Soulja Boy)” — Soulja Boy 15. “Watch Me (Whip / Nae Nae)” — Silento 16. “Turn Down for What” — DJ Snake, Lil Jon 17. “Drop It Like It’s Hot” — Snoop Dog 18. “Barbie Girl” — Aqua 19. “Thrift Shop” — Kidz Bop Kids 20. “Call Me Maybe” — Carly Rae Jepsen

FIND CARLY RAE JEPSEN

We’ve hidden Carly Rae Jepsen somewhere in this issue. Find her and maybe something cool will happen...

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