Hi.

你好。

I'm Jake.

我是傑克。

In February 2020 he posted his first video to TikTok.

2020年2月，他在TikTok上發佈了他的第一個視頻。

Alright, mom, what are you doing today?

好了，媽媽，你今天要做什麼？

I'm going to make a beat!

我要做一個節拍！"。

I had my mom make a beat that I had already pre-made.

我讓我媽媽做了一個我已經預先做好的拍子。

And I recorded, I'm like, okay, press these buttons.

我錄了音，我想，好吧，按下這些按鈕。

And we'll make it look like you just made it in two minutes.

而且我們會讓它看起來像你剛剛在兩分鐘內做的。

I need a producer tag

我需要一個製片人標籤

Okay, what do you want it to be?

好吧，你希望它是什麼？

Ayo mama on the beat.

Ayo mama on the beat.

Within hours the video was racking up millions of views.

幾小時內，該視頻的瀏覽量就達到了數百萬。

So, Jake made a few more videos featuring his mom,

是以，傑克又製作了幾個以他媽媽為主角的視頻。

but with one small tweak.

但有一個小的調整。

My brother had the idea, he was like,

我哥哥有這個想法，他說。

yo, what if we like put a TikTok like in front of the phone and we filmed it...

喲，如果我們把TikTok放在手機前面，然後拍下它，會怎麼樣？

Hey mom.

嘿，媽媽。

Have you ever heard this song before?

你以前聽過這首歌嗎？

The format was simple but clever:

形式簡單但很巧妙。

Jake would mashup songs on TikTok that were already going viral.

傑克會在TikTok上混搭那些已經走紅的歌曲。

[overlapping] Hey mom.

[重疊] 嘿，媽媽。

Have you ever heard this song before?

你以前聽過這首歌嗎？

It worked.

它起作用了。

With each post, he was racking up millions more views.

每發一個帖子，他的瀏覽量就會增加數百萬。

But he didn't stop there.

但他並沒有止步於此。

And we were like, we need to put my vocals on the end of it.

我們就想，我們需要把我的歌聲放在它的最後。

And if the song goes viral, then like we can drop it ourselves and become an artist.

如果這首歌成為病毒，那麼就像我們可以自己放棄它，成為一個藝術家。

Hood baby part 2, featuring yours truly.

油煙機寶寶第二部分，以你為主角。

Up down right down...

上下右下...

We're just going to name myself, JVKE and we're going to go at it.

我們只是要命名我自己，JVKE，我們要去做。

Ayo mommas gonna make this a bop.

Ayo mommas會使這個節目成為一個流行的節目。

“Up down right down looking for your love right now.”

"上上下下都在尋找你的愛，現在。"

It just so happens that the first one that I put my vocals on

碰巧的是，我把我的聲樂放在的第一個作品

went absolutely bananas viral.

絕對瘋狂的病毒。

Jake's 15 second snippet of a song was taking over TikTok.

傑克的15秒歌曲片段正在佔領TikTok。

Once it was at 1 million videos, Charli D'Amelio used it.

一旦它達到100萬個視頻，查利-達梅利奧就會使用它。

That means that this is about to be insane.

這意味著，這即將是瘋狂的。

Like it's not ending at a million.

就像它沒有在一百萬時結束。

It's starting at a million.

它的起價是一百萬。

At the time, Jake didn't even have a manager.

當時，傑克甚至沒有一個經理。

But he knew he needed one fast.

但他知道他需要一個快速。

We have these fifteen seconds, we have labels calling us...

我們有這15秒，我們有標籤叫我們......

What do we do?

我們該怎麼做？

That was actually when I got on the phone with my now manager

這實際上是我與我現在的經理通電話的時候

and he was like “Call me, right now!”

他就說："給我打電話，現在就打！"

He was like, "Hey, can you finish this song in 24 hours?"

他說，"嘿，你能在24小時內完成這首歌嗎？"

Clearing the “Hoody Baby” sample ended up taking a few days.

清理 "胡迪寶貝 "的樣本最終花了幾天時間。

By the time we got it out, it was at 5 million videos.

當我們把它拿出來的時候，它已經達到500萬個視頻。

It ended up going to 15 million.

最後，它變成了1500萬。

If you compound all the views of all the 15 million videos,

如果你把所有1500萬個視頻的所有瀏覽量複合起來。

it's like over 9 Billion views.

就像超過90億次瀏覽。

This is just the beginning of Jake's story.

這只是傑克的故事的開始。

But what makes it so interesting isn't how dramatic it is,

但使它如此有趣的原因並不是它有多大的戲劇性。

but how often stories just like his occurred in 2020.

但像他這樣的故事在2020年經常發生。

Over the last few months I've been working with The Pudding

在過去的幾個月裡，我一直在與布丁公司合作。

to put experiences like Jake's into perspective.

把像傑克這樣的經歷納入視野。

We dug into the data and stories behind dozens of emerging artists' TikTok hits.

我們挖掘了幾十位新興藝術家在TikTok上的數據和故事。

To figure out what internet fame actually means for new music artists.

要弄清楚互聯網上的名氣對新的音樂藝術家究竟意味著什麼。

It turns out, this is way more than a story about algorithms or going viral.

事實證明，這遠不止是一個關於算法或走紅的故事。

It's a story about the longstanding tug-of-war between

這個故事講述了在中國和美國之間長期存在的拉鋸戰。

artists, platforms, and music industry giants.

藝術家、平臺和音樂產業巨頭。

You might be surprised who's winning.

你可能會驚訝於誰會贏。

If I were to review this project, I'd probably never do it again.

如果讓我審查這個項目，我可能永遠不會再做了。

That is Matt Daniels, a journalist at The Pudding

這就是馬特-丹尼爾斯，《布丁》雜誌的一名記者

where he digs into culture stories through data.

他在那裡通過數據挖掘文化故事。

In the Fall of 2021, we started a project that turned into what Matt describes as...

2021年秋季，我們開始了一個項目，變成了馬特所描述的...

One of the hardest data projects I've ever worked on.

這是我所做過的最難的數據項目之一。

It seemed simple on paper:

這在紙上看起來很簡單。

create a data set of Indie and DIY artist that went viral on TikTok in 2020

創建一個2020年在TikTok上走紅的獨立和DIY藝術家的數據集

and determine if that virality was enough to change the outlook of their career.

並確定這種病毒性是否足以改變他們的職業前景。

Because it really was their first major, major exposure

因為這確實是他們第一次重大的、重大的接觸

to a huge fan base on the internet.

到互聯網上的巨大粉絲群。

But, there were a few big problems right from the start.

但是，從一開始就有幾個大問題。

The biggest was there wasn't a useful data set

最大的問題是沒有一個有用的數據集

of the most popular songs on TikTok from 2020.

2020年TikTok上最受歡迎的歌曲之一。

We banged our head against the wall

我們把頭往牆上撞

trying to figure out “how do we reconstruct charts from TikTok?".

試圖找出 "我們如何從TikTok重建圖表？"。

It turns out, there's a lot of playlists on Spotify that compile viral TikTok hits.

事實證明，Spotify上有很多播放列表，彙編了TikTok的病毒性歌曲。

And there's also this tool called Chartmetric.

還有這個工具叫Chartmetric。

Which among other things captures historical data of those playlists

除其他事項外，它還能捕獲這些播放列表的歷史數據

and tracks what songs have been added and subtracted to them and when.

並跟蹤哪些歌曲被添加和減少到其中，以及何時添加和減少。

So, we got to work.

是以，我們開始工作。

And pulled all of the songs from as many playlists as we could find

並從我們能找到的儘可能多的播放列表中提取所有的歌曲

that were added between January and December 2020.

2020年1月至12月期間增加的。

Then we ranked the songs by their popularity on TikTok,

然後我們按照歌曲在TikTok上的受歡迎程度進行排名。

filtering out any that got fewer than 100,000 posts.

過濾掉任何少於10萬個帖子的內容。

Which brought us down to about 1500 songs that went viral in 2020.

這使我們在2020年走紅的歌曲達到約1500首。

The biggest challenge I would say is once we had our arms

我要說的最大挑戰是，一旦我們有了自己的武器

wrapped around these 1500 songs

纏繞著這1500首歌曲

making the decision of, is this an established artist

做出決定，這是一個成熟的藝術家嗎？

that had a TikTok hit

有一個TikTok點擊率的

or is this the artist's big break?

還是說這是藝術家的重大突破？

And a big break is a very subjective decision.

而重大突破是一個非常主觀的決定。

A lot of the artists in this list were obviously very established.

這份名單中的很多藝術家顯然都是非常成熟的。

Cardi B going viral on TikTok is not particularly impressive

卡迪-B在TikTok上走紅並不特別令人印象深刻

versus somebody who has never released a song before.

與之前從未發佈過歌曲的人相比。

So we went back to Chartmetric to dig into more data points

所以我們回到Chartmetric，挖掘更多的數據點

behind these songs and the artists that made them.

這些歌曲的背後，以及創作這些歌曲的藝術家。

Including their Spotify monthly listeners, the number of times they've been playlisted,

包括他們的Spotify月度聽眾，他們被列入播放列表的次數。

the number of tracks they've released.

他們所發行的曲目數量。

Which made it a lot easier to decide: did this artist have a career beforehand?

這使我們更容易決定：這個藝術家之前是否有職業？

Eventually, after filtering out all of the established artists

最終，在過濾掉所有成熟的藝術家之後

we narrowed our list to a sample of 125 artists we felt hit all the marks.

我們將名單縮小到我們認為符合所有標準的125名藝術家的樣本。

They all went viral on TikTok in 2020

2020年，他們都在TikTok上走紅。

and as far as we can determine, it was their big break.

而且就我們所能確定的而言，這是他們的重大突破。

Can I also say something really quickly...

我還可以說一些非常快的事情嗎...。

Yeah yeah.

是的是的。

It doesn't actually matter how many artists we examined.

實際上，我們審查了多少位藝術家並不重要。

There's probably thousands of new artists that went viral on TikTok.

可能有成千上萬的新藝術家在TikTok上走紅。

So what we wanted to do was just wrap our arms around a cohort of artists that are experiencing

是以，我們想做的是把我們的手臂包在一群正在經歷的藝術家身上。

this phenomenon and, and then say what, what happened to them afterwards?

這種現象和，然後說什麼，他們後來發生了什麼？

What happened to these artists' after they went viral was eye-opening.

這些藝術家在走紅後的遭遇令人大開眼界。

And nearly everyone of those stories starts with Spotify.

而這些故事幾乎都是從Spotify開始的。

The speed and the intensity with which TikTok sends things viral.

TikTok發送病毒的速度和強度。

It's crazy.

這很瘋狂。

That's Elias Leight: he's a music journalist

那是埃利亞斯-萊特：他是一名音樂記者

and his reporting on TikTok and the music industry is extensive.

他對TikTok和音樂產業的報道非常廣泛。

The virality itself is not necessarily new

病毒性本身並不一定是新的

but TikTok is basically just like a machine gun

但TikTok基本上就像一把機關槍

shooting out viral songs

拍出病毒性歌曲

like even more than daily, honestly.

說實話，甚至比每天還多。

The two big differences are how many viral moments it creates

兩個最大的區別是它創造了多少病毒性的時刻

and then how directly that virality correlates with streaming increase

然後，這種病毒性與流媒體的增加有多直接的關係

which is why the labels are so obsessed with it.

這就是為什麼標籤對它如此痴迷。

You can see how that played out in real time by looking at this chart

你可以看一下這個圖表，看看實時的情況如何。

which captures the explosive virality of JVKE's track “Upside Down” on TikTok.

這篇文章抓住了JVKE的歌曲 "Upside Down "在TikTok上的爆炸性病毒。

But what it doesn't show is that while Jake's track was going viral

但它沒有顯示的是，當傑克的曲目在病毒式傳播的時候

people were flocking to Spotify to stream it.

人們蜂擁到Spotify上播放它。

This is the TikTok-to-Spotify pipeline.

這就是TikTok到Spotify的管道。

I remember when we first released the song

我記得我們第一次發佈這首歌時

it was just like a bottle rocket, up to like 500,000 streams a day.

它就像一個瓶子的火箭，每天有50萬個流量。

I was like, what is happening?

我當時想，發生了什麼事？

I didn't even know really what that meant at the time.

我當時甚至不知道這意味著什麼。

What is meant is that the track was going to get playlisted.

所謂的意思是，該曲目將被列入播放名單。

In fact within a month of “Upside Down's” official release

事實上，在《天翻地覆》正式發行的一個月內

it was on 98 editorial playlists: including "New Music Friday"

它出現在98個編輯部的播放列表中：包括 "新音樂星期五"。

which has almost 4 million followers.

其中有近400萬名追隨者。

It landed on the "Global Viral 50" Spotify Charts.

它登上了Spotify的 "全球病毒50 "排行榜。

And as a result, JVKE went from zero monthly listeners on August 18th

結果，JVKE從8月18日的每月零聽眾

to 3.4 million by October.

到10月，達到340萬。

As I'm editing this piece, he has over 8 million.

在我編輯這篇文章時，他已經有800多萬。

This pipeline from TikTok to Spotify wasn't unique to JVKE.

這種從TikTok到Spotify的管道並不是JVKE獨有的。

It happened to nearly every one of the 125 artists on our list.

這幾乎發生在我們名單上125位藝術家的每一個人身上。

So, I feel like TikTok is one of the main platforms

所以，我覺得TikTok是主要平臺之一

where people actually leave the app to go and add music to their library.

在這裡，人們實際上離開了應用程序，去把音樂添加到他們的圖書館。

That's L.Dre - who's song Steven Universe has been used

那是L.Dre--他的歌曲《史蒂芬-宇宙》已經被使用。

in more than 10 million video posts.

在超過1000萬的視頻帖子中。

Whenever one of my videos went viral

每當我的一個視頻走紅的時候

most of the comments were people begging me to release it.

大多數評論是人們乞求我發佈它。

That's kind of the culture on TikTok.

這就是TikTok上的一種文化。

When they hear something, they really wanna go listen to it.

當他們聽到什麼，他們真的想去聽。

I pretty much went from having just like a few thousand monthly listeners

我幾乎是從每月只有幾千名聽眾的情況下開始的

to just a rapid incline for like a year or two straight

連續一到兩年的快速傾斜。

where it was just steady going up.

在那裡，它只是穩步上升。

And what was more exciting to see

而更讓人興奮的是，看到

was that almost all of the artists, including L.Dre

是，幾乎所有的藝術家，包括L.Dre

had some of their other tracks get editorially playlisted.

有一些他們的其他曲目被編輯列入了播放名單。

That's really important because it means that

這真的很重要，因為這意味著

once you're on a playlist that Spotify curates,

一旦你進入了Spotify策劃的播放列表。

it's getting a huge audience

它得到了大量的觀眾

it's a huge signal that the music you're releasing is going to get streams.

這是一個巨大的信號，表明你所發佈的音樂將獲得流媒體。

To get a better sense of how the TikTok-to-Spotify pipeline worked

為了更好地瞭解TikTok到Spotify的管道如何運作

Matt and I analyzed another chart: The Spotify 200.

馬特和我分析了另一個圖表。Spotify 200。

It's a global chart that shows the top 200 songs on the app every day.

這是一個全球圖表，每天顯示應用程序上的前200首歌曲。

These songs are stream kings.

這些歌曲是流媒體之王。

So, in a new spreadsheet, we pulled all the artists whose songs made

是以，在一個新的電子表格中，我們拉出了所有的藝術家，他們的歌曲都進入了《世界新聞報》。

the U.S. Spotify 200 after January 2020

2020年1月之後的美國Spotify 200指數

and filtered out all of the artists who had well established careers

並過濾掉了所有有良好事業基礎的藝術家。

or had already charted before then.

或在那之前已經上了排行榜。

This left us with a new data set to analyze.

這給我們留下了一個新的數據集來進行分析。

These 332 emerging artists who landed on the chart for the first time.

這332位首次登陸排行榜的新興藝術家。

Out of this group, a quarter of them have TikTok to thank for their big break.

在這群人中，有四分之一的人要感謝TikTok為他們帶來的重大突破。

This is incredibly eye-opening in terms of TikTok's influence on the charts.

就TikTok對排行榜的影響而言，這讓人難以置信地大開眼界。

In terms of what is getting listened to in music culture.

在音樂文化方面，什麼是得到傾聽的。

But let's backtrack a second.

但讓我們回過頭來看一下。

Because it's not just about racking up millions of streams.

因為這不僅僅是為了積累數百萬的流量。

It's about how fast you're able to do it.

這是關於你能做得多快。

And it's not just about how virality influences music culture.

而且這不僅僅是關於病毒性如何影響音樂文化的問題。

It's about how it influences music business.

這是關於它如何影響音樂業務。

Spotify basically pays out labels according to

Spotify基本上是按照以下標準支付標籤的費用

their share of the total streams in a given time period.

他們在特定時間段內的總流量份額。

If you get a really big hit that, you know,

如果你得到一個非常大的打擊，你知道。

does a billion streams over six months or something

在6個月內做了10億個流媒體或什麼的

that can add a few points to your market share

這可以為你的市場份額增加幾個點

which then increases your payout of the Spotify pool.

然後增加你對Spotify資金池的支付。

It's really like a ruthless competition for this market share number

這真的就像一場對這個市場份額數字的無情競爭

that no listener cares about at all

聽眾根本就不關心的問題

but the record labels watch obsessively.

但唱片公司痴痴地看著。

Despite this obsession, look what's happened over the past 4 years.

儘管有這種執著，但看看過去4年發生了什麼。

Major labels have slowly conceded their total Spotify market share

各大唱片公司已經慢慢讓出了他們在Spotify的總市場份額

to independent and self-released artists.

對獨立和自發的藝術家。

To get back a bigger piece of the pie, labels developed a strategy:

為了分回更大的一杯羹，標籤制定了一項戰略。

Monitor TikTok like a hawk and aggressively try to sign artists

像鷹一樣監視TikTok，並積極嘗試簽署藝術家。

that are rising to the top.

正在上升到頂端。

In a way, TikTok is great for the labels.

在某種程度上，TikTok對標籤來說是偉大的。

They basically sit on top of it, watch everything come up

他們基本上是坐在上面，看著所有的東西上來。

and if they get it at the right time

如果他們在正確的時間得到它

they can probably make their money back on pretty much one track.

他們可能在幾乎所有的軌道上都能賺回他們的錢。

The intensity of these bidding wars around viral songs...

這些圍繞病毒性歌曲的競標戰的激烈程度...

It's pretty wild.

這是很狂野的。

It's just like a flat-out sprint to grab the next viral thing.

這就像一個平坦的衝刺，以抓住下一個病毒性的東西。

Here's a headline I've seen everywhere.

這是我到處看到的一個標題。

And for legal reasons, I made a generic version of it.

而出於法律原因，我做了一個通用版本。

“Artist with viral TikTok song inks million dollar record deal with major label.”

"擁有TikTok病毒歌曲的藝術家與大公司簽訂了百萬美元的唱片合約。"

Let's break it down.

讓我們把它分解一下。

So you're an artist, you have a song and it's doing really, really well

所以，你是一個藝術家，你有一首歌，它做得非常非常好。

and all these record labels are hitting you up.

而所有這些唱片公司都在打你的主意。

They're like, I want to sign you.

他們說，我想和你簽約。

How can we be a part of this conversation?

我們如何才能成為這一對話的一部分？

So then they will entice you with money, which is an advance.

是以，他們就會用錢來誘惑你，這是一種預付款。

So this million dollars, right here?

那麼這一百萬美元，就在這裡？

That's the advance.

這就是預付款。

The more virality you have the more zeros you'll see.

你的病毒性越強，你會看到更多的零。

This is Mary Rahmani.

這位是瑪麗-拉赫馬尼。

She's a former TikTok music exec

她是前TikTok音樂執行官

who now runs her own label with Republic records

她現在與共和國唱片公司一起經營她自己的品牌

called Moon Projects.

稱為 "月亮項目"。

When I worked at major labels, but under an imprint that was a little more indie