‘Oh well … karma’s a bitch’
The video opened to a young woman yawning, dressed in pajamas with messy morning hair. Wearing glasses and with no signs of makeup, she casually lip-syncs the line, “Oh well … karma’s a bitch” and throws a silk scarf into the air. Suddenly loud background music explosively begins. In an instant, she transforms into a glamorous fashion model, almost unrecognizable from a second before. A new meme had taken hold of Douyin.
“Karma’s a bitch” was a new version of the original “Don’t judge me” challenge that had propelled Musical.ly to top the U.S. app store three years earlier. The meme was another breakthrough for Douyin; People loved watching the shocking transformations. Compilations of the meme’s videos started popping up online. In particular, the makeup skills of some women left many men in disbelief. “Karma’s a bitch” left an impact on mainstream culture and gained widespread recognition and publicity, even making waves out into English language global media.
Douyin was also increasingly hypercharging the popularity of catchy pop songs with strong hooks. In late 2017, a track known as the “Ci-li-ci-li song” exploded on Douyin. The song’s catchy energy was undeniably infectious. Yet, it was the novel set of dance moves that had become associated with the track’s hook that turned the music into a meme and dramatically amplified its success.
The track had actually been released back in 2013 by Romanian reggae and dancehall artist Matteo, under the name “Panama.” Four years after its debut, the song’s unexpected and explosive spike in popularity led the singer to hastily organize an Asia tour to capitalize on his track’s sudden fame. A YouTube video shows him meeting Chinese fans at the Hangzhou airport who demonstrate their moves to him in the arrivals hall. With the dance having been created entirely in China, the bewildered artist finds himself in the awkward situation of not knowing how to follow the moves to the song for which he is famous.
Perhaps the most reliable indicator of the platform’s increasing influence on society was how the name, Douyin, had started to enter everyday colloquial vernacular, becoming synonymous with short video. The meaning of “Let’s shoot a Douyin!” needed no explanation.
Make it rain
ByteDance knew they now had a winning formula. Retention was good, word of mouth was excellent, a large, vibrant community of video creators had been fostered. The recommendation engine was doing its job of surfacing the best content. Douyin’s fire was already burning bright; now, it was time to pour gasoline on things and spend, spend, spend.
The holiday week of Chinese New Year is another unique annual opportunity for app promotions. Hundreds of millions travel home to be reunited with their families and find themselves with free time to relax. An entertainment app like Douyin was the perfect way to pass the time; word of mouth spread naturally between family members.
To step up its efforts further, Douyin directly gave out money to users by running a Chinese New Year “lucky money” campaign. Users could collect small cash amounts in special videos by tapping on the “red packet” icons — a digital manifestation of cash-filled envelopes people give to each other during the holiday. ByteDance also went all out, spending wildly, buying adverts and promotions across major online channels to acquire users, spending about 4 million yuan a day (over half a million dollars). The combination of all these effects sent Douyin to the top of the Chinese app store charts. Various reports stated Douyin’s daily users jumped from around 40 to 70 million over the February to March period covering Chinese New Year, with some of the top accounts seeing their follower numbers quadruple.
This article is an excerpt from “Attention Factory: The Story of TikTok and China’s ByteDance,” which was written by Matthew Brennan and edited by TechCrunch reporter Rita Liao, who wrote the introduction to this post.
There’s no shortage of TikTok coverage in the news today as the app’s fate in the U.S. hangs in the air.
What the press doesn’t always address is how TikTok gets here — how did a Chinese startup seize the lucrative short-video market in the West before Google and Facebook? What did it do differently from its Chinese predecessors who tried global expansion to little avail? Matthew Brennan’s new book “Attention Factory” set out to answer these questions by tracing ByteDance’s trajectory from an underdog despised by Read More
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