Hancel Teodoro Vargas Reynoso, who records as Bulin 47, is a Dominican dembow singer, songwriter and comedian. He arrived at music through comedy rather than the other way round, and the timing of a joke is still the thing his records are built on.

From the videos

He was born in 1989 and made his name with humour videos before he sang anything. That order matters: the comic persona was already established when the music started, and it gave him a way into the genre that did not depend on out-toughing anyone.

The first songs went up on his own social accounts in 2016 — 7 Pollos, Lo Que Fue, El Licey and Bélico y Maquillaje — and the audience that had come for the jokes stayed for them.

El Rey de las Dagor

The album El Rey de las Dagor followed in 2017. Quién Lo Vio, Deja de Hablar de Mí, Chupirupi and Va Seguí came over the next two years, along with Prendía, made with Kiko el Crazy.

The collaborations

In 2020 he worked across most of the Dominican urban scene at once, recording with Don Miguelo, Ceky Viciny, El Mayor Clásico, Yomel el Meloso and Rochy RD. Bajo Mundo, Lo Cualto Tan Hecho, Si Hay Mujeres, Piki Pau and Pa’ Que Respete came in 2021, the last of them alongside a run of dates in Miami.

El Que Sabe Sabe, in 2022, was made with Lápiz Conciente, which put the comedian next to the man the scene treats as its founder. Mi Tranza, Vivo por Palomo and Fundia followed in 2023, and he recorded Party with IAmChino and Pitbull. A new version of Mi Tranza with the Puerto Rican Myke Towers came in 2024.

In 2025 he appeared on CELOS with Tokischa. His own recent records — Calorazo, Me La Sube, Ta Talde Pah with Ceky Viciny, the Leo Leo remix with Afriken An and Toy Al 100 — have kept him among the most played dembow artists in the country.

Bajo Mundo

In 2021 the artist Lio El Más Duro brought a claim against him over Bajo Mundo, asking fifty million pesos and alleging that the song was plagiarised. Bulin answered in public that bajo mundo is an expression in common use and that it had been popularised by a television programme rather than by any songwriter, and asked what exactly the plagiarism was supposed to be.

The dispute is worth recording because it is about authorship rather than about conduct: it turns on whether a phrase everybody says can belong to anyone, which is a question dembow raises constantly and settles rarely.