omg i see diplo
— lord drewsick (@drewmillard) August 9, 2014
oh fuck diplo recognizes me from twitter
— lord drewsick (@drewmillard) August 9, 2014
he just left the side of the stage and he's coming down towards me
— lord drewsick (@drewmillard) August 9, 2014
diplo just came up to me and confronted me about me talking shit about him on the internet
— lord drewsick (@drewmillard) August 9, 2014
i'm being all "yo cool it diplo" but he's all "what the fuck man what's your deal"
— lord drewsick (@drewmillard) August 9, 2014
just got punched by diplo
— lord drewsick (@drewmillard) August 9, 2014
just punched diplo back
— lord drewsick (@drewmillard) August 9, 2014
diplo and i just got separated by security
— lord drewsick (@drewmillard) August 9, 2014
A pretty ridiculous concept—livetweeting your own fight with one of the biggest names in EDM—but within five minutes of firing off my tweets, some of my fellow trolls had tweeted that they’d seen Diplo and I trade punches, which led to tweets reacting to my fake fight, speculating upon the nonexistent Noisey/Mad Decent beef that I’d accidentally created. Soon enough, I was receiving concerned texts from friends—including one from a fellow Noisey editor—asking if I was OK. On the internet, often, perception begets reality.This is especially true when discussing Mad Decent. In the past few years, the label has become a powerhouse in the American electronic music circuit, through savvy internet marketing and little else. They scored a proper Number One hit with Baauer’s “Harlem Shake,” in part by fanning the flames of the song’s memefication, encouraging fans to upload 30-second clips of them reacting to the song’s then-inescapable drop to YouTube. The 30 second part was key, here, because that’s the amount of time it takes for a song to register as “played” on YouTube, and therefore eligible to be collected upon. The plays were racking up, but not purely out of enthusiasm for the tune. The label’s savvy exploitation of the rules of YouTube directly led to Billboard altering the way it monitors charts, which in turn made “Harlem Shake” shoot to Number One on the Hot 100. Somewhat indirectly, this served as a template for tracks that start viral dance crazes on Vine and then cross over to become legitimate hits, including Young Thug’s “Stoner,” Sage the Gemini’s “Gas Pedal,” and, most recently, RiFF RAFF’s “Tip Tow Wing In My Jawwdinz.” RiFF’s record label? Mad Decent.diplo's having me kicked out of mad decent block party my first rave was so fun y'all
— lord drewsick (@drewmillard) August 9, 2014