"Plagiarizing" Huazhu and "making accounts" Lulu reveal the content creation | film finch, bocoran mesin slot online

With the somewhat unreasonable lyrics and relatively nice melody of "The Thief", she became popular in the mainstream public opinion circle for a while (of course she is already quite popular in the niche circle), and she has been in trouble recently.

In early March, Station B revealed that the well-known song "Out of the Mountain" by independent musician "Hua Zhou" (original name unknown, Internet speculation is "Guo Lida") was suspected of "plagiarizing" German rapper Kram D's "Anders Als Ihr". Hua Zhou subsequently issued a statement saying that studio partner Wang Shengnan had purchased the right to use the arrangement. However, netizens did not buy it. They found that the arrangement was only "rented" and Hua Zhou's commercial actions had exceeded their authority. This is not the first time that Huachou has been accused of "plagiarism". The lyrics of her single "Mom Wants Me to Get Married" released in 2012 were found to have completely copied the Russian folk song of the same name.

On March 9, it was rumored on the Internet that the original composer of "Out of the Mountain" stated that he would temporarily stop the litigation because he could not afford the expensive litigation costs and time costs. This aroused the anger of netizens. They flooded the comment area of ​​NetEase Cloud Music's "Chu Shan" song to request its removal. This "promoted" "Chu Shan" to surpass the famous song "The Thief Will Go" to become the number one song of Huazhu.

A few days later, "Henan girl" Lulu took over Huazhu and became a hot topic of public opinion. She taught the self-media Sanbiao a lesson worth 70,000 yuan, and asked Mr. Sanbiao to receive a reward of 200 yuan from Mr. Pony. Ms. Lulu became an internet celebrity in the content entrepreneurship circle.

The succession of Huazhu and Lulu is certainly a coincidence in time, but they reveal the same scar of content entrepreneurship.

Music content entrepreneurs: hard-core reality and freedom that is difficult to regulate

Independent musicians are also content entrepreneurs, but they have existed on the Internet for a long time, driven by tepid online music, and are not as eye-catching as today's self-media platforms.

But this does not mean that there are fewer participants in this field.

According to a certain music platform’s own figures, the number of independent musicians on its platform alone has reached 70,000. In addition, major online music platforms are wooing independent musicians. It is roughly estimated that there are more than 100,000 domestic independent musicians. This is a very large group of content creators, and it is also the so-called content entrepreneurship track that has existed from the ancient Internet era to the present.

At the same time, with the emergence of genuine awareness and the support of digital music platforms, the possibility of independent musicians and their works being exposed has greatly increased. On a certain platform, independent musician Chen Xuening's "Passengers in My Only Youth" has been played 210 million times. She is not necessarily the highest. It seems that successful independent musicians are indeed the beneficiaries of this content entrepreneurship avenue.

However, the truer reality is that just like self-media platforms, most of those who make money do not.

According to NetEase Cloud Music's own report, 68% of musicians earn an average monthly income of less than 1,000 yuan from music, while less than 5% of musicians earn a monthly music income of more than 10,000 yuan. Just like content entrepreneurship, this is really an industry that requires the support of dreams. The success of "Chengdu"After all, Zhao Lei and Song Dongye, who have squeezed into the mainstream music circle with "Ms. Dong", are in the minority.

Music creation is extremely time-consuming. Music production requires the support of a large amount of software and hardware resources, and fan management requires a lot of energy. It is obviously difficult for independent musicians to guarantee the quality of their works with such an income level. Occasionally, there are decent products, such as Hua Pou's "The Thief" (the song is innocent). Even though it has a recognized excellent melody and deviant lyrics, it has attracted serious criticism from academics.Except for the niche circle of fans, the recognition of independent musicians in the mainstream circle is not optimistic, just like Guo Degang once did in the mainstream cross talk circle.

However, in the field of music content, independent musicians are not completely without "profit". In the face of dreamsthat are bound by reality, they at least have the freedom to be difficult to regulate. Most people would not take drugs as wildly as Song Dongye, but it is still possible to make some cheat sheets.

One year ago, the now popular independent musician Xu Binglong's "No Song Name" was accused by netizens of plagiarizing the Japanese song "Young Dream" by Masaaki Kishibe. Netizen "Wu Yianxian_WY" confronted him and was blacklisted (see "Three and a Half Music" "Can independent musicians born in the 2000s plagiarize?");

Another independent musician, Li Yuanjie, is more skilled. Netizens discovered that his "Sorrow of Leaving Others" was a fusion of many songs, including Jay Chou's "Red Dust Inn" and "Fireworks Easily Cold", which was ridiculed as a "skewered song" by moviegoers;

There are also more discreet plagiarisms in the name of "tribute" or "source of inspiration". In the market of independent musicians, without the millions of eyes of the mainstream music circle staring at them, creation has become a very "free" thing.

The content platform that has become a "tragedy of the commons" is also "inversely paradoxical" in "achieving" high-quality content creators

With the rise of online music platforms and the intensification of mutual competition, independent musicians are increasingly facing the same content entrepreneurial environment as graphic and text self-media. Huazhu's "plagiarism" and Lulu's account creation have a common background.

First of all, it is a similar author "support plan", which is the first step - traffic can be exchanged for money.

Needless to say, the various self-media support "plans" in which respective media platforms have invested heavily are a source of huge subsidies for Lulu, and over the years, online music platforms have also been very willing to do so.

The former independent music giant Xiami Music launched the "Light Seeking Project" in July 2014;

NetEase Cloud Music, a rising veteran independent music player, launched "Stone Project" in November 2016;

The veteran online music brand Taihe Music (formerly known as Qianqianjingting) launched a companion star program in April 2017;

QQ Music, the top online music company, launched “Project Force” in April 2018 (also owned by Tencent Music), participants also include Kugou and Kuwo Music);

Even the community-based music platform Douban also launched the "Golden Fleece" plan in 2015... It is worth noting that, unlike self-media platforms, which occasionally change the names of plans, these plans are continuous and change seasons. The Xunguang Project, Stone Project, etc. are currently in the second quarter.

In general, these plans have an inseparable relationship with traffic. On the one hand, the plans often include playback advertising sharing plans for online music platforms (similar to self-media advertising). On the other hand, higher traffic means that it is easier to be "selected" by the plan to obtain the convenience of subsequent album releases and offline concerts, which corresponds to the high subsidies of self-media platforms.

Then,is a similar content recommendation mechanism, which is the second step - knowing what can bring traffic.

Respective media platforms have developed a large number of so-called AI+big data accurate recommendation mechanisms, which have made great achievements in accurately targeting traffic and user duration. Lulu used this to create popular articles such as Dilraba smashing a fan's mobile phone at the airport.

This is similar on music platforms. Under the playlist and daily recommendation modes, different independent music outputs have the possibility to match users, and independent musicians can use this to find seed users. According to a report by "Duyujun", the current usage rate of NetEase Cloud Music's personalized recommendation function has reached 75%, and the usage rate of its music library has reached 80%. QQ Music, Xiami Music, Douban, etc. have also followed suit, and the "music information flow" has actually been formed.

Finally, it is a similar plagiarism environment. This is the third step - to create content smoothly.

As the media from all walks of life have said, there is no routine for Lulu’s plagiarism. It is to find hot spots and move them around, piece together things that users like, or trade with some insiders to gain more weight on the same topic. The root cause of the prevalence of plagiarism is that self-media of pictures and texts has no copyright barrier, and lacks rights protection business models such as Visual China. As long as we don’t deliberately blackmail others, everyone can enjoy it.

It is precisely in this way that the platforms that have worked so hard to provide money and traffic have become the commons in the "tragedy of the commons". Account-making groups and "marketing accounts" wantonly use these platforms as the commons for their own harvesting. They do not produce original content, but cut and piece together materials from all over the network to create pseudo-originals, thereby evading the platform's originality detection system, thereby maximizing traffic and platform sharing.

Xinbang once secretly visited the manuscript cleaning industry chain, saying that "a group of 30 people earns 7 million a month", and after producing content, they either "raise their own accounts, maximize traffic, and obtain a share of the platform"; or "sell it to others at one time, and the purpose of the buyer is to either continue to maintain the account to earn subsidies, or to accept five types of advertising, or to divert traffic to gambling, pornographic websites, etc."

The money-giving platform was trampled on by these people until there was no more money to be made, and they were even heavily fined by key departments.

Independent music is actually similar, or even more so.

So far, there are more than 6 billion songs officially counted by various copyright offices around the world, with an increase of about 2 songs every second. This means that when you copy Nordic niche songs, Southeast Asian ethnic songs, and Japanese Hokkaido nostalgia songs, the probability of being known by users is extremely low, unless the song is accidentally heard by fans somewhere. Even though "Anders Als Ihr" rented by Huachou has 20 million views on Youtube, almost no one in China knows it.

Furthermore, even if someone discovers it, the self-media of pictures and texts can still be "checked for plagiarism" in terms of rights judgment, and musical works are composed of musical notes. The current legal regulations are that "if the accused infringer's work is similar to the right holder's work in 8 measures or the main chord part of the entire musical accompaniment is basically the same and the dominant chord is 60% similar, then it constitutes "Substantial similarity constitutes infringement." However, in judicial practice, this perception is actually subjective. Who will judge (legal terminology: the choice of the subject of judgment) has a decisive role in whether an infringement is constituted. This has caused great uncertainty. It is difficult for overseas song owners to travel across the ocean to take care of this matter.

What’s interesting is that when we look at those works that are easily completed through plagiarism, most of them focus on the ones that have very beautiful melodies or lyrics, or can satisfy certain user preferences, and are the better or unique ones among the 6 billion songs. For example, the opening accompaniment of "Anders Als Ihr" has become the most attractive and essential part of "Out of the Mountain" (you can listen to it on the platform). This has also become the best shortcut for independent musicians to attract traffic and meet the requirements of the algorithm. It is similar to the selection of content by the account makers.

Of course, this presents an embarrassing "inverse paradox" reality for content creators:

The lower the time value investment, the higher the economic value; if you want to obtain more economic value, you must try your best to shorten the creation time of the work. The more investment, the less profit.

Keso, a well-known self-media person who is better than Sanbiao's "zero income", has a three-year platform income of 1,428.08 yuan. When describing this incident, he said:

"Sanbiao said that he would take over the pen of "Lulu", continue the unfinished business of "Lulu", and continue to play the entertainment routine of "Lulu" on his Penguin account for two months. I think he a little too underestimated the professional barrier of account making, and too underestimated the difficulty of producing five eye-catching short articles a day. Please show some respect to the professional."

This is not just a joke. Content entrepreneurs who always create their own original content may not be able to carry plagiarized and useless popular articles. They do not understand that only works that match a lower creation time can have higher economic value. Perhaps, at least in the current environment, this is the "easiest way" for content entrepreneurship.

Fans’ defense of independent musicians makes content entrepreneurs the victims

If you have to say what is unique about the form of content entrepreneurship and graphic and text self-media, independent musicians self-mediaThe fan base you bring is undoubtedly the biggest advantage.

In the self-media platform model, users only belong to the platform and not to the author, which exacerbates the disadvantages of high-quality content creators compared to those who create in-depth content. The former are more dependent on fans for food. As for independent musicians, no matter how good or bad they are, users belong to themselves and not to the platform.

After the "Out of the Mountain" incident broke out, many fans "stepped forward" to defend Hua Zhou, or counterattacked those who questioned the infringement (it is said that Hua Zhou's fan base has reached 4 million)

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In the normal environment of online violence, the behavior of fans is commendable. However, when independent musicians have obviously infringed and apologized, they still insist on defending. In fact, independent musicians have additional rights of defense compared to self-media with pictures and texts. What is the standard for high-quality content? Who has the final say?

But is this really good?

Sanbiao could not give an answer on how graphic self-media evaluates high-quality content. He could only say that "transparency is the minimum" and "the more detailed the platform's distribution logic and subsidy principles, the better. The more refined the algorithm must be, the better. The more convenient the channel for reporting and grievances, the better." But think about those high-quality content creators. After "bad money drives out good money", they no longer have the intention to create, and they can only complain a few times; Those "account makers" who have made temporary profits can no longer write a passing ordinary article. Once there is no platform subsidy, their survival skills will be wiped out instantly.

Some people say that the best response to a bad guy is not to stop his behavior on the spot, but to give him a candy to "reward" him and let him continue to be bad, and in the end there is no way back.

Isn’t that what these fans are doing? And those sheltered independent musicians, like the trumpeters, became the final "victims" of this protection war.

Well, there are no winners in this content entrepreneurship.