BIGBANG is easily one of the most popular and widely recognized K-pop acts in the West, so it feels perfectly natural for the group's leader, G-Dragon, to collaborate with some major American artists on his just-released second solo album, Coup D'Etat.

Both Diplo and Harlem shaker, Baaeur, join forces as producers on the album's title track and lead single, which a smouldering hip-hop anthem that sounds tailor-made to play in lowriders. The intensity is turned up a few notches on the Missy Elliott-assisted urban banger, "Niliria," which would make a pretty good soundtrack for Miley Cyrus to twerk to. It makes you wonder if GD's quietly trying to make a proper crossover to the Western market, or if he just did this for the love of the music.

Check them both out, below.

Hey, you guys remember that Baauer song "Harlem Shake"? It was that crazy trap song that took off kinda randomly at the beginning of 2013, when a bunch of people made half-minute long videos where one of them went crazy dancing to the song (then everyone joined in when on the break), and the videos were popular enough that thanks to a conveniently timed new chart rule about video streams, the song actually went to #1? Yeah, we barely remember it either, but it wasn't even really that long ago!

It probably just seems like it was years and years ago, because we've already moved on as a culture to something newer, bigger and better: Screaming goats. Goats yelling like humans has been a thing for a while now—and by a while we mean at least two weeks, as evidenced by this that-old compilation of GYLHs that has nearly nine million views on YouTube:

Shortly after that, we got this 40-second-length video—the golden duration of YouTube in 2013—of Taylor Swift's "I Knew You Were Trouble," with the screaming goat bleating replacing Taylor's "ohhhhhh!!!"s on the chorus.

If it sounds low-concept, that's because it is. For better or worse, however, it's also at least mildly hilarious—partly because Taylor's chorus was so overwrought (and if you hear her do it live on an off-day, vaguely goat-esque) to begin with, that the transition to Screaming Goat vocals isn't even all that jarring. But if it was a good idea once, it'll be a good idea 25 or 2500 times, so now we have all these:

And so on. Basically, punch in a song title from the last few years with the word "Goat" next to it into YouTube, and your chances are at least 50/50 of there already being a Screaming Goat remix of the song available. Only took two weeks!

So far, we prefer the "Harlem Shake" meme, but this one is so simple and so dumb that it has a chance of staying golden for a little while longer than "Shake," which we burned out on pretty quickly. Either way, looking forward to Screaming Goat's top ten debut on the Hot 100 next week!

My eyes bugged out a little when I saw the headlines about Baauer's "Harlem Shake" debuting on top the Hot 100 this week. I knew the song would be in for a big debut, having topped the iTunes chart recently, but is still sold less than the incumbent number one "Thrift Shop," and with virtually no radio play or availability on streaming services needed to contribute to the On-Demand section of chart calculations. This is all a big chart-nerdy way to say that despite all the hooplah about his song in the last week, Baauer was too new, too unknown to possibly top the charts, at least not yet.

But no, the song is indeed number one this week, and it's because of a brand new rule in chart methodology—the addition of a "Streaming Songs" section of the chart designed to account for a song's presence on YouTube and other video-sharing services. With that addition to the calculations, "Harlem Shake" becomes the runaway chart-topper, as the song registered over 100 million streams last week—over ten times as many as the chart's number two, "Thrift Shop." (In case your internet connection has been out the last two weeks, the nine-digit views come courtesy of these countless meme videos in which people freak out dancing to the song.)

In fact, the debut of the new chart seems purposely timed to coincide with the big entry for "Harlem Shake"—if this was pro sports, the newly added rule would probably be heretofore referred to as "The 'Harlem Shake' Rule" for how clearly it seems custom-designed to express the popularity of the song. It's a little frustrating for long-time chart-watchers such as myself, because when you make dramatic changes to the chart like this, it makes it hard to put the fact that Baauer, just about the last person you'd ever expect to top the Hot 100 going into this year, into the appropriate historical context. What does it mean that Baauer now has more number-one singles than Justin Bieber, Drake and Nicki Minaj combined? It's impossible to say.

Now, there's an argument to be made that this is actually a good thing, that it makes the Hot 100 a more accurate chart. If you were to ask simply, "What's been the biggest song of the past week?," by most definitions, the answer would be "Harlem Shake," so by that pure logic, it makes sense that it should be number one. Similarly, the greatest chart oversight of last year was that Psy's "Gangnam Style," a song that will be remembered by anyone who lived through it as the most popular song in the world for at least a couple of months, never got past #2 as it was blocked at #1 by Maroon 5's "One More Night," a song that many pop listeners have probably already forgotten the existence of. Had The "Harlem Shake" Rule existed in late 2012, "Gangnam Style" would certainly have hit #1, and might have stayed there for about 15 weeks for all we know. That would have been the good and fair thing.

But here's my grievance with this specific rule change: Saying that a song being viewed on YouTube is roughly analogous to a song being played on the radio or streamed over Spotify, as this rule implicitly does, isn't something I agree with. "Harlem Shake" isn't getting all these views because people just love the song that much—it's because they want to see these new crazy videos were people go nuts to the song in forever newer and crazier ways. People liking the song plays a part in that, sure, but it's just a small part of it. Tellingly, the original "Harlem Shake" song has only 13 million views on YouTube—which is still a whole lot, especially for an unknown like Baauer, but less than, say, "Harlem Shake (original army edition)" or "UGA Men's Swim & Dive Harlem Shake." Nobody's watching these videos to listen to the song specifically, and indeed, the song only lasts for half a minute anyway.

A working, though imperfect analogy to this would be the popularity of certain music videos on MTV. Very often, the popularity of a song on MTV would fuel its popularity on the charts, but because music video play wouldn't directly factor into chart calculations, sometimes an MTV hit never appeared on Billboard. For instance, Jamiroquai's "Virtual Insanity" was one of the most popular videos of 1997, even winning Video of the Year at that year's VMAs. but never even cracked the Hot 100. This made sense, as the video was really only popular for the video portion itself—the wacky spinning room with the bleeding furniture and lead singer Jay Kay's big-ass hat. The song itself was OK, but would never have been that memorable (and certainly didn't fit into any radio station at the time) without the video. It made sense that it wouldn't crack the Hot 100.

Now, we're saying that a song's video going viral is the same thing as the song itself becoming super-popular. That might end up being true in Baauer's case anyway—the fact that the song is still #1 on iTunes certainly supports that—but I have to wonder where we draw the line. Under these rules, would O-Zone's "Dragonstea din tei" have topped the charts while the Numa Numa guy was a viral sensation? What about Tay Zonday's "Chocolate Rain"? Would Rebecca Black's "Friday" have spent, like, the entirety of 2011 on top the Hot 100? It doesn't seem right to me, and I really hope Billboard knows what they're doing with this.

Two separate, incompatible truths:

1) We are very concerned about the memeification of Baauer's "Harlem Shake" ruining a perfectly good trap song.

2) We love X Factor girl group Fifth Harmony and everything they represent.

What, then, to make of this? Well, we'll have to admit: We loved it. Love wins out over hate once again!

Heeeere we go again. Rather quickly after Azealia Banks' rap over Baauer's "Harlem Shake"—you know, the song exploding the internet these days—was released, it was pulled from her Soundcloud, with Banks tweeting at Baauer, "why you coccblockin tho??? Lmaoooooo," obviously implying that the Brooklyn DJ forced her to pull down her version of his hit. "cause its not ur song lol," was Baauer's technically accurate response—though the correctness left Banks unmoved, her tweeting back at him to call him "a pussy" and, even more contentiously, a "faggoot." (She probably meant to have one less "o" in that one, but you get the idea.)

As it did once before, this caught the attention of one Perez Hilton, who tweeted at Azealia, "Classy as always! How does it feel to be better known for all your trash-talking than your music, Azealia? #TeamBauuer." Unsurprisingly, this sent Banks off even further, again calling him a "faggot," asking him what her "pussy taste like," then tweeting about how ridiculous it is to find her use of the word "faggot" offensive, saying "Why has society accepted "nigger" As a colloquialism ... But will not accept "faggot"? Everyones always acting like its fucking 1905 in this bitch."

All right, so a couple of things.

1. Why does Baauer even care about an Azealia Banks remix? She can't possibly be the first rapper to hop on the track, and after the way the track has blown up lately—number friggin' two on iTunes!—she certainly won't be the last. It's not "her song," duh, but rapping over other people's instrumentals is something like a 40-year-old practice and it's a little late to start fighting it now.

2. As pointed out by Pitchfork and a couple other places, calling a male someone a "faggot" and then asking him how your pussy tastes is not only offensive, it's contradictory and downright illogical.

3. Since when has society accepted "nigger" as a colloquialism? Last we heard, people still got in trouble for using that word on occasion.

4. Maybe just stop calling people "faggots," Azealia? Get that you're fighting for your first-amendment rights and all, but perhaps you need to pick your Twitter battles a mite more judiciously.

Just sayin'.

Stars are feistier than ever, and the number of social networks for them to fight on is only growing—we’ll be your guide to their digital dustups, with a clear, standardized look at who’s feuding over what, where and why. If you’re lucky, we’ll even pass judgement and tell you who won!

Who's Feuding: Feud-happy Harlem rapper Azealia Banks and feud-averse "Harlem Shake" DJ Baauer, with a special assist from Perez Hilton.

Medium: Twitter, YouTube.

How It Got Started: As a dance craze based on Baauer's 2012 track "Harlem Shake" started to go viral, Azealia Banks released a freestyle over the track. Baauer complained and got the video removed.

Best Shots: Really, there are none. This thing started off juvenile, and only got more so when Perez Hilton entered the mix:

Tweets/Accounts Later Deleted: So far, none.

Endgame: All the slurs in the world won't get Banks' "Harlem Shake" back up.

Who Won? As bush-league as it is for a DJ to complain about rappers freestyling over his song, we've got to give this one to Baauer, if only for the sole factor that he is only person in this who comes off remotely well.

[ONTD]