China
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A former executive at ByteDance, the Chinese company which owns the popular short-video app TikTok, says in a legal filing that some members of the ruling Communist Party used data held by the company to identify and locate protesters in Hong Kong.
Yintao Yu, formerly head of engineering for ByteDance in the U.S., says those same people had access to U.S. user data, an accusation that the company denies.
Yu, who worked for the company in 2018, made the allegations in a recent filing for a wrongful dismissal case filed in May in the San Francisco Superior Court. In the documents submitted to the court he said ByteDance had a “superuser” credential — also known as a god credential — that enabled a special committee of Chinese Communist Party members stationed at the company to view all data collected by ByteDance including those of U.S. users.
The credential acted as a “backdoor to any barrier ByteDance had supposedly installed to protect data from the C.C.P’s surveillance,” the filing says.
ByteDance said in a statement that Yu’s accusations were “baseless.”
“It’s curious that Mr. Yu has never raised these allegations in the five years since his employment for Flipagram was terminated in July 2018,” the company said, referring to an app that ByteDance later shut down for business reasons. “His actions are clearly intended to garner media attention.
“We plan to vigorously oppose what we believe are baseless claims and allegations in this complaint,” ByteDance said.
Charles Jung, Yu’s lawyer and a partner at the law firm Nassiri & Jung, said Yu chose to raise the allegations because he was “disturbed to hear the recent Congressional testimony of TikTok’s CEO” when Shou Zi Chew, a Singaporean, vehemently denied Chinese authorities had access to user data.
“Telling the truth openly in court is risky, but social change requires the courage to tell the truth,” Jung said. “It’s important to him that public policy be based on accurate information, so he’s determined to tell his story.”
TikTok is under intense scrutiny in the U.S. and worldwide over how it handles data and whether it poses a national security risk. Some American lawmakers have expressed concern that TikTok’s ties to ByteDance means the data it holds is subject to Chinese law.
They also contend that the app, which has over 150 million monthly active users in the U.S. and more than a billion users worldwide, could be used to expand China’s influence.
During the combative March House hearing, lawmakers from both parties grilled Chew over his company’s alleged ties to Beijing, data security and harmful content on the app. Chew repeatedly denied TikTok shares user data or has any ties with Chinese authorities.
To allay such concerns, TikTok has said that it would work with Oracle to store all U.S. data within the country.
In an earlier court filing, Yu accused ByteDance of serving as a “propaganda tool” for the Chinese Communist Party by promoting nationalistic content and demoting content that does not serve the party’s aims. He also said that ByteDance was responsive to the Communist Party’s requests to share information.
Yu also accused ByteDance of scraping content from competitors and users to repost on its sites to exaggerate key engagement metrics. He says he was fired for sharing his concerns about “wrongful conduct” he saw with others in the company.
In mainland China, ByteDance operates Douyin, which is targeted at the domestic market. TikTok is its global app that is available in most other countries. It was also available in Hong Kong until TikTok pulled out of the market in 2020 following the imposition of a sweeping national security law.
Anyone who tries to open TikTok from within Hong Kong will see a message that reads “We regret to inform you that we have discontinued operating TikTok in Hong Kong.”
At the end of last year, singer/actress Fiona Sit was in the midst of filming the TV show Memories Beyond Horizon when tragedy struck. Her father became ill and was admitted to the ICU. Despite the difficulties, Fiona was determined to express her longing for her family and hometown through music.
On the day of the Winter Solstice (Dec. 21), she released a new song called “Hong Kong’s Night.” This heartfelt work was a simple, honest story of her own. “We all have beautiful and gentle nights in our hometowns, and if you’re missing home, this song can become ‘Beijing’s Night’ or ‘Chengdu’s Night,’ with the same melody and expression,” Fiona tells Billboard China for a new cover story. “Music is a blessing to us all.”
For two decades, music has been a constant companion to Fiona, providing her with a platform to express emotions, from love to healing. After all these years, her heartfelt love for music still shines.
‘I’m also surprised that I’ve been singing for 20 years’
Fiona was starting from scratch when she first stepped into the recording studio. She had no experience or knowledge of the music industry and was intimidated by the producer and backup singers. With no idea how to express her ideas, she was left feeling overwhelmed and helpless. She often asked questions like, “What color should this sentence be? How shy should the boy in the song be? Are there other people in the room when we’re together? How many?”
Fiona’s journey to becoming a musician was an extraordinary one. She began as an installation artist, where she could express her feelings through her brush and materials. But when it came to music, she realized she needed to collaborate with lyricists, composers and other behind-the-scenes creatives to make something special. She chose to communicate through art, honing her skills in a professional way, until she could use her own voice to express her emotions. Fiona’s voice is like a unique blend of lemon, honey and mint — a perfect harmony to accurately portray the vibrant emotions of a girl’s heart.
Fiona’s art is a vivid expression of her emotions. From the golden trophies she has earned since her debut, to the self-doubt and confusion she experiences in difficult times, to the pink romantic mood of love and the thoughts of her hometown at night, Fiona’s art captures it all. When she’s stuck for inspiration, Fiona turns to painting. As she puts it, “Drawing a song is like listening to it over and over again and painting a picture. The picture is the song.”
Becoming a star without much thought
Fiona had big dreams of becoming an artist when she was in school. She studied Creative Media and Installation Art in college, but people around her often asked her if she wanted to be a model because of her natural beauty. Despite being only 5-foot-6, she decided to give it a go and soon found out that modeling isn’t just about strutting down a catwalk — it also involves photo shoots and videos. And that’s how Fiona’s modeling career began. She’s since starred in TV commercials for big brands like HSBC and Coca-Cola.
“At age 20, I shot commercials for 6-8 hours and earned HKD 3,000-4,000 [around $350-$500 USD] per session. I’d keep 800 [$100 USD] for myself and gave the rest to my parents, and I haven’t asked them for money since. Little did I know back then that modeling would become my future career. I just felt I was a precocious child who was already supporting my family.”
Fiona had always been passionate about singing, but it wasn’t until people started asking her if she wanted to pursue it professionally that she began to seriously consider it. She knew her uncle worked at a record company and had been responsible for the work of many singers, so she decided to seek his advice. When Fiona told her uncle about her singing aspirations, he was surprised. “You like singing? Do you have perfect pitch?” he asked. Her uncle then arranged for her to meet with a Warner Music agent and have an informal audition at a KTV (a karaoke business). Fiona remembers the whole process as being quite magical. She can’t remember much about that day, but she was sure that she sang a lot of Leslie Cheung’s songs. Fiona loves to cover songs by male singers, as it gives her the opportunity to tell a story from a different perspective.
Fiona’s star-studded career began in the same year she released her debut album and starred in her first movie. Director Derek Yee was looking for the perfect female lead for his upcoming movie 2 Young, and Fiona was the one he chose for the 2005 project. Years later, when they became close friends, Derek joked about Fiona’s audition, “Out of all the girls who auditioned, you put in the least effort. You showed up wearing flip-flops and a baggy T-shirt!” Despite her laid-back approach, Fiona’s ease and authenticity won over the producers and directors.
Roaring through the music world for a decade
Fiona’s 2004 debut album F Debut was a huge success. The song “A Letter From Keanu Reeves” topped the music charts in Hong Kong and won the “Top 10 Gold Songs” award at the Radio Television Hong Kong’s Top Ten Chinese Gold Songs Award, along with Jay Chou’s “Common Jasmine Orange,” Leo Ku’s “Love and Fidelity” and Miriam Yeung’s “Storm in a Teacup.”
When Fiona went onstage to accept the award, she smiled happily and simply said “thank you.” After she stepped off the stage, the staff was amazed by her composure. They asked her how she could remain so calm in the face of such an accomplishment. “My calmness is also happiness, pure joy. I just didn’t think too much at that time,” she replied.
Fiona’s life was a whirlwind of activities after achieving fame. She was constantly on the move, juggling interviews and photo shoots, and pushing herself to the brink of exhaustion. But amid her hectic lifestyle, Fiona still found time to reflect on her journey and the future ahead. In her 2013 song “Dear Me in Ten Years,” she expresses the fears of a young girl growing up in a world full of uncertainty: Have I done things that make me proud without regret? Have my beliefs stayed strong? Will I keep my sense of style as I mature? Should I be smart instead of impulsive? Am I happy?
Every time Fiona mentioned “Dear Me in Ten Years” when promoting her songs, she would cry because she was really facing the “question marks” in the song, confronted with the unknown, feeling scared and uncertain about the future. However, after enough crying and thinking, she began to discuss with her company that, in addition to singing and acting, she wanted to step out of her comfort zone and explore new possibilities.
To commemorate her decadelong journey in the music industry since her debut, Fiona released the conceptual album Tenacious in 2013. She took on many roles for the first time, from producer to costume designer, cover designer and art director for the music video sets and lighting. Fiona chose the album title for a reason: It reflects her relentless pursuit of music and unwavering commitment to her craft.
For this album, Fiona took a brave step forward by writing her own lyrics and composing her own music for the first time. The song “Recovery” is a touching reminder of the bond between Fiona and her cat. Fiona’s story is one of pain and regret. After her cat was diagnosed with a painful heart condition, Fiona had to make the difficult decision to let it go. The next day, she found solace in her music, and the song “Recovery” was born.
Fiona hopes to comfort those who have experienced sadness from parting with this song and learn to face the impermanence of life, becoming wise in adversity. “We should not forget all the hardships we have experienced. If you forget them, you will not be able to learn and gain from them. Don’t forget, don’t resent, don’t get angry. Slowly it will turn from a bad thing into a good thing.”
Ten years ago, Fiona was a confused girl, unsure of what the future held. But 10 years later, she had a different outlook. She had learned that growing up doesn’t have to be something to be feared, but something to be embraced. Fiona expressed this newfound understanding in her song “Me After Ten Years.” Through her music, she was able to convey the message that the price of growing up is not something to be dreaded, but a journey that can bring joy and appreciation for life.
Redefining herself & showcasing her true self on multiple stages
Fiona was filled with uncertainty before joining season 3 of the TV series Sisters Who Make Waves last year. Would people be let down after seeing her on the show? She recalled her dance teacher’s initial impression of her as being cold, only to discover her humorous side after getting to know her. After much contemplation, Fiona accepted that while she may have a cold side, she is much more than that. The songs she performs on the show will be her true self, and through them, everyone can get to know the real Fiona.
Fiona used to be content with singing the same familiar pieces. But when she joined Sisters Who Make Waves 3, she had to embrace a new approach. She was now in a “you choose, I learn” state of mind. Through this experience, Fiona discovered that her voice can express a much wider range of emotions. She is now open to learning and collaborating with different styles and genres, as long as it sounds good.
Fiona is taking a break from releasing new music to focus on discovering her true artistic identity. She wants to use her singing to tell stories that are honest and meaningful, instead of pretending to be someone she isn’t. “I want to tell stories that are real and true to who I am,” Fiona says. “I’m determined to find my own voice and express it through my music and its accompanying arrangements. By the end of the year, I’m hoping to have achieved this goal and be able to share my stories with the world.”
If one day Fiona’s career in the arts comes to an end, she plans to become a director. Years ago, two dreams had come to her in the night, connected in a way she couldn’t explain. From these dreams, she had crafted an outline for a script, a story she wanted to bring to life on the big screen. Someday, she hoped, her dreams would become a great movie.
Fiona has had a lifelong curiosity and a passion for the unknown. For the past 20 years, she has been on a journey of exploration, driven by her youthful spirit and accompanied by music and art. Despite the passing of time, her love and dedication remain unwavering. Even after two decades in entertainment, Fiona remains true to herself.
Fiona Sit on the cover of Billboard China.
Courtesy of Billboard China
Since their debut two years ago, multi-national Chinese boy band INTO1 have released four albums and made impressive progress in music, thanks to their unique charms.
Meeting in early spring 2021 and disbanding in late spring 2023, the group’s 11 members from all over the world have made an indelible impression on their fans with their devotion to music.
INTO1 released their final album, Grown Up, in March. Whether it’s a gentle croon or an impassioned, rocking melody, every song captures INTO1’s growth from young men to adults.
Here are five questions and answers from their recent Billboard China cover story, translated to English, about their two-year group career and new album Grown Up.
From the first album to the latest one, you have tried many music styles, such as Chinese operas, hip-hop, electronic dance and so on, and you are becoming more and more mature in your musical performance. How did you grow musically while recording Grown Up?
Liu Yu: My biggest growth in music is learning how to listen to the story behind the voice and hear how the singer handles fine details, timbre control and creativity through the voice.
SANTA: When recording the album, I felt like I was watching a movie about the two years of INTO1, so my biggest gain was to be reminded of these precious memories.
RIKIMARU: When I first listened to the demo, I was worried about whether I could sing the high notes well. But when practicing before recording, I found that I could give it a try.
Mika: For me, my biggest growth was that all the songs on the album contain our shared emotions, and it is a perfect graduation gift of INTO1.
Nine: We can show our growth in two years through these songs.
Lin Mo: We try new styles on every album. I can also find a different self.
Bo Yuan: I learned how to release my emotions and began to understand that volume and pitch are not the only things that determine emotional performance.
Zhang Jiayuan: I think I made great progress in aesthetics and new style, like a cappella and indie rock. And I experienced different emotions through music.
Patrick: In our new song, “Grown Up,” there are many harmonic elements. I learned a lot about harmony during the recording and understood the layers of music better.
Daniel Zhou: I’ve learned a lot of different things from recording each album over the past two years, because album recording involves different aspects of music. For example, we can convey the emotions of the music through our dance, our voice, our performance and so on. I think I can find different possibilities in different styles of songs every time I record.
AK: My biggest gain is that I wrote a whole song for INTO1 and our team for the first time: the harmony, lyrics, music and some ideas on the arrangement. In this process, I think I made some progress in comprehensive aesthetics and music production.
You started out in a closed environment on the talent show, and after you became a group, you started living together. After getting to know each other for a while now, who is the most different from your first impression of him? How is he different from who you though he was?
Liu Yu: I think it’s AK. The first impression he gave me was that he looked like someone not to be messed with. After getting to know him, I think he is a simple boy with a playful side and can write some very delicate songs.
SANTA: I think it is Liu Yu. My first impression of him was that he was professional and serious-minded. In fact, this has not changed even now. But after getting to know him for a long time, I found that he also likes to joke around, and it is relaxing to be around him.
RIKIMARU: I think it is Bo Yuan. I never thought we could be such good friends now. We are very comfortable chatting with each other, and we think alike in many ways.
Nine: I think Daniel and Mika. My first impression of them was that they were cold and distant, but they are actually very cute and lively.
Bo Yuan: I think Mika and Daniel. They both transformed from the reserved cool guys to jokesters.
Zhang Jiayuan: I think it is Liu Yu. I used to feel that he was cold and distant, but now I think he is rather funny.
Daniel Zhou: I think it is Mika. When I first met him, he was very cold and quiet, so I thought he may not be so easy to get along with. However, after two years of getting along with each other, I found that he is the most easygoing. I think he is a combination of very cold and very cute.
AK I think it is me! [Laughs] In the past two years, I have tried many new styles in terms of music and styling and grown up a lot.
In two years, you have created four albums together, collaborated on many stage performances and participated in many variety shows. You have brought many surprises to your fans, and you have become the pride of your fans. What has been your most fulfilling moment as a member of INTO1?
Lin Mo: When we were rigged on wires [for a performance] for the first time. It was so cool.
Daniel Zhou: We went to the Super Novae Games, and each of us participated in a different event. Even though we represented ourselves as an individual, the rewards we won belong to the team. During the process, we felt a strong sense of collective honor and we were proud to be part of the team.
AK: The most fulfilling moment may be when I wrote the song “Grown Up.” I wrote about regrets and sadness, and also wrote about positive wishes for the future. I hope that all 11 of us will have a bright future. That is what the song is about.
INTO1 was born in the stage performance competition, and in two years, you have also created many stage performances. What has been the group’s most impressive stage performance so far?
Daniel Zhou: What impressed me the most was when we performed “Shanhe Tu” at a big party in 2021. During the performance, we were rigged on wires and hung in the air about 20 meters [66 feet] off the ground. Eleven of us hung in different corners in midair and then convened on a stage covered with water. I have never been on such a well-equipped stage before, and I was filled with uncertainty and excitement, so I think it was the most impressive performance for me.
AK: It was when we sang “We Are the Youth” onstage for the first time. At that time, our group had just been formed and did not have enough time to try to bond with each other and rehearse, so the final stage performance was not so good. I always remembered this stage performance, reminding myself that I must do my best to prepare for every stage in the future.
You have been working as an idol group for two years. Which field of work would you like to continue to pursue in the future?
Liu Yu: I will continue on the road of music. Of course, I would like to try out other fields.
SANTA: I would like to continue to work in dance, music, variety shows and new opportunities in China and explore more possibilities in myself.
RIKIMARU: Find my own unique music style.
Mika: I hope I can improve my stage performance, dance and singing to be a better performer.
Nine: I will not give up the stage, and I will try harder in acting.
Lin Mo: I will try everything if there’s an opportunity. I won’t set any limits for myself.
Bo Yuan: I would like to continue singing. Besides singing, I also like live broadcast. Both performing live onstage and chatting on a live broadcast in real time is challenging.
Zhang Jiayuan: I will work harder on music, variety, film and TV, art and so on.
Patrick: I played a role in a movie before, and I like the feeling of learning about a character and then embodying it, so I hope I can make more film and TV works in the future. At the same time, I also hope to make my own album and sing on programs or in concerts for everyone.
Daniel Zhou: There are many things that I have not tried yet, so I hope to have more opportunities to try different things.
AK: I will definitely stick to music. As a next step, I am particularly interested in enriching my life experience, improving my emotional perception and expression, and recording what I see. Currently, I am also planning my concert tour, music festival and EP.
Billboard China
After two years of training, the team members of INTO1 have all grown up. For them, farewell is also a new beginning, and each of them will also embark on a new stage of their career. Mika, Lin Mo and Daniel Zhou have all released new projects; Bo Yuan and AK will also start their own tours. There is reason to believe that whether they are members of INTO1 or developing independently, they will all shine brightly.
Tencent Music Entertainment Group, the leading online music and audio entertainment platform in China, announced that its QQ Music has launched the global original music competition THE ONE, and global music media brand Billboard China will be the exclusive media partner for this competition.
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The competition has invited talented singers, songwriters and musicians around the world including TIA RAY, Lenka and Greyson Chance to act as THE ONE ambassadors for the competition, together auditioning new original celebrities. THE ONE aims to continue to help talented Chinese musicians and high-quality original songs to go abroad and convey the voice of China to the world.
Based on this cooperation, TME will integrate its leading technology, profound industrial and user insights, comprehensive service systems in the Chinese music industry with global resources, influence and international high standards to provide talented musicians with a full range of services from the first demo recordings to the release of songs, as well as global promotion and customized performances, which will support Chinese stars on the world stage in all aspects.
THE ONE competition will be segmented into three major competition units — “Musical Work,” “Fresh Face” and “Label,” for songwriters, emerging musicians and quality labels, respectively — to provide a fair stage for competition and communication among different types of players with different audition mechanisms. Among them, the “Musical Work” unit will gather works from all over the world through TME’s Qimingxing Music Assistant, while at the same time invite famous Chinese original musicians such as Bird Zhang, L.T. and Ma SiWei, Mikey Jiao and Chen Zhuoxuan to participate. The “Fresh Face” unit will be strategically combined with Tencent Musician Platform’s New Forces project to identify excellent artists in the new generation, while the “Label” unit will collect original music works from high-quality labels globally, introducing independent labels valuing the quality of music creation and the diversity of music styles into the world’s spotlight, and bringing more “Chinese treasures” to global music fans.
The competition will eventually select and produce a conceptual music collection of THE ONE. The collection will be distributed globally through TME Music Cloud, including but not limited to overseas channels such as Spotify, Apple Music, YouTube and others. The collection will also receive massive promotional traffic support and core resources from TME’s various platforms including QQ Music, Kugou Music, Kuwo Music and Tencent Musician Platform, as well as being featured on the Billboard China master song list Golden Ears. In addition, honorees will also have the opportunity to participate in a special collaborative performance with Billboard Live in Shanghai, representing China’s high-quality original force on the global stage to bring exciting performances to music fans around the world.
With this partnership, TME will continue to strengthen its in-depth collaboration with more music industry partners, bringing more quality original works and exciting performances to music lovers around the world. TME will continue the exploration of value patterns for the construction of Chinese music’s global influence, supporting and accompanying the birth and bloom of high-quality original Chinese music.
As the U.S. government considers banning social media app TikTok, the U.S. music industry faces a few scenarios regarding the platform that’s become a lifeline for discovering and breaking artists — and most aren’t good.
The grilling of TikTok CEO Shou Zi Chew by members of the House Energy and Commerce Committee on Thursday (March 23) had all the political theater expected from a Congressional hearing. It also had one important characteristic unusual for the United States in 2023: bi-partisan agreement. Despite Chew’s insistence that U.S. TikTok users’ data cannot be accessed from China, home of parent company Bytedance, neither Democrats nor Republicans seem intent on allowing TikTok to operate within their borders.
The showdown seemed inevitable given TikTok’s foreign entanglements and the app’s quick ascendence. The app accounted for 17% of total time spent on mobile apps globally in 2022, according to Data.ai — second behind WeChat’s 19.5% and well ahead of No. 3 YouTube’s 12.7%. Chew told lawmakers that TikTok has 150 million users in the U.S. That’s 50% more than the 100 million figure TikTok previously made public (and eMarketer’s latest estimate of 95.8 million at the end of 2022). Among U.S. Gen Z consumers aged 18 to 24, TikTok ranks No. 2 behind Instagram in monthly average users, according to Data.ai.
But the app’s fate in the United States “is on shakier ground than ever,” according to eMarketer principal analyst Jasmine Enberg. “TikTok’s decision to highlight how entrenched the app has become in US society was miscalculated,” Enberg said in a statement. “It actually strengthened U.S. lawmakers’ argument that TikTok poses a threat to both national security and young people.”
Brendan Carr, a commissioner with the Federal Communications Commission, agrees. The vocal TikTok critic told CBS News “the day could not have gone any worse for TikTok” and that Chew “completely failed” to gain “some level” of trust and credibility with members of Congress.
While a TikTok ban appears popular amongst politicians, not everybody is supportive. The Cato Institute’s Paul Matzo called a ban “a hamfisted mistake” born from “neo-Cold War paranoia.” It wouldn’t necessarily make America safer, he argued, and would amount to a bail-out for Meta, whose TikTok competitor, Instagram, has failed to win on a level playing field. The Brookings Institute’s Darrell M. West and Michaela Robison argue that a ban would open up U.S. companies in China — such as automaker Tesla — to similar scrutiny.
If a ban could withstand a legal challenge — former President Donald Trump’s attempt to ban TikTok and Chinese messaging app WeChat both failed — TikTok’s parent company, Bytedance, would be forced to sell the company. President Joe Biden’s administration has encouraged Bytedance to sell TikTok. But it wouldn’t be a straightforward process. China would “strongly oppose” a forced sale, a Ministry of Commerce spokesperson said Thursday, and TikTok is subject to Chinese law on tech exports and would require government approval.
A prompt sale of TikTok, which is reportedly valued at $60 billion, would be the best outcome for the music industry in search of new sources of streaming revenue. TikTok’s revenue rocketed from $4 billion in 2021 to $10 billion in 2022, according to reports. Research firm Omdia projects that TikTok’s ad revenue will climb to $44 billion by 2027 — presumably assuming there are no geopolitical interferences — and surpass the combined video ad revenues of Meta and YouTube. Although TikTok is not a major source of revenue for labels and publishers, rights holders expect to eventually have licensing agreements that give them a share of advertising revenue for user-generated content (like their deal with YouTube).
The current hodgepodge of bans also hurts both TikTok and the music industry. In the United States, TikTok has already been banned by some federal agencies, state and local governments and universities. Elsewhere, TikTok has been banned from the official phones of staff of the European Commission, U.K. parliament, Canadian government, Belgian government, Danish Defense Ministry and Latvian Foreign Ministry, to name a few. Fewer TikTok apps installed on fewer smartphones is twice the punishment for an app that depends on user-generated content. Lower usage means fewer people creating and viewing videos.
Perhaps the biggest question is what would happen to TikTok under new ownership. If, say, Oracle owned a stake in TikTok, as was proposed during the Trump administration, would the app continue to have the same magical recommendation algorithm that has made TikTok so irresistible and its competitors unable to keep up? New ownership would eliminate restraints on TikTok’s revenue and user growth, but if the product suffers, the music industry would be handed a less effective promotional tool and a less valuable source of revenue. The only certainty in this TikTok controversy is that such unintended consequences are guaranteed.
TikTok is ramping up a public relations campaign to fend off the possibility of a nationwide ban by the Biden administration, and it’s bringing some unconventional advocates to help: online influencers.
Dozens of TikTok creators — some with millions of followers on the video-sharing app — came to Capitol Hill on Wednesday to lobby in favor of the platform, one day before lawmakers are slated to grill the company’s chief executive about concerns over user data falling into the hands of the Chinese government.
Shou Zi Chew plans to tell Congress on Thursday that TikTok, which was founded by Chinese entrepreneurs, is committed to user safety, data protection and security, and keeping the platform free from Chinese government influence. He will also answer questions from U.S. lawmakers worried about the social media platform’s effects on its young user base.
At the heart of TikTok’s trouble is a Chinese national intelligence law that would compel Chinese companies to fork over data to the government for whatever purposes it deems to involve national security. There’s also concern Beijing might try to push pro-China narratives or misinformation through the platform.
At a media event coordinated by TikTok on Wednesday, some content creators acknowledged that concerns about data security are legitimate, but pointed to precautions the company is taking, such as a $1.5 billion plan — dubbed Project Texas — to route all U.S. data to domestic servers owned and maintained by the software giant Oracle.
TikTok has been attempting to sell that proposal to the Biden administration, but skeptics have argued it doesn’t go far enough. The administration is reportedly demanding the company’s Chinese owners sell their stakes or face a nationwide ban.
“I don’t know much about politics, but I know a lot about fashion, and I know a lot about people,” Ok said. “And just to be here and share my story is what TikTok has invited me to do.”
Tensions around TikTok have been building on Capitol Hill, reaching a boiling point late last year when a proposal to ban the app off of government phones passed with bipartisan support and was signed into law by President Joe Biden. House Republicans are pushing a bill that would give Biden the power to ban the app.
Other bills have also been introduced — some bipartisan — including a measure that would circumvent the challenges the administration would face in court if it moved forward with sanctions against the social media company.
The effort to target TikTok is part of a larger, tougher approach that Congress has taken in the past several months as China’s relationship with two U.S. adversaries — Russia and Iran — has come into focus. A recent incident with a spy balloon forced even some wary congressional Democrats to join Republicans in opposition, and there is now a strong bipartisan concern in Washington that Beijing would use legal and regulatory power to seize American user data or use the platform to push favorable narratives or misinformation.
TikTok’s response to the political pressure can be seen all around the nation’s Capitol, with the company putting up ads in area airports and metro stations that include promises of securing users data and privacy and creating a safe platform for its young users. Last year, the company spent more than $5.3 million on dispatching lobbyists to the Hill to make its case, according to Open Secrets, a nonprofit that tracks lobbying spending.
On Thursday, Chew will be sticking to a familiar script as he urges officials against pursuing an all-out ban on TikTok or for the company to be sold off to new owners. TikTok’s efforts to ensure the security of its users’ data go “above and beyond” what any of its rivals are doing, according to Chew’s prepared remarks released ahead of his appearance before the U.S. House Committee on Energy and Commerce.
Chew pushed back against fears that TikTok could become a tool of China’s ruling Communist Party because its parent company, ByteDance, was founded in Beijing and also operates from there.
“Let me state this unequivocally: ByteDance is not an agent of China or any other country,” Chew said.
He distanced TikTok from its Chinese roots and denied the “inaccurate” belief that TikTok’s corporate structure makes it “beholden to the Chinese government.” ByteDance has evolved into a privately held “global enterprise,” Chew said, with 60% owned by big institutional investors, 20% owned by the Chinese entrepreneurs who founded it and the rest by employees.
It’s “emphatically untrue” that TikTok sends data on its American users to Beijing, he said.
“TikTok has never shared, or received a request to share, U.S. user data with the Chinese government,” Chew said. “Nor would TikTok honor such a request if one were ever made.”
Whether those promises will alleviate concern is another matter. TikTok has come under fire in the U.S., Europe and Asia-Pacific, where a growing number of governments have banned the app from devices used for official business. India, Afghanistan and Indonesia have banned it nationwide.
Chew, a 40-year-old Singaporean who was appointed CEO in 2021, said in a TikTok video this week that the congressional hearing comes at a “pivotal moment” for the company, which now has 150 million American users.
Chew said TikTok’s data security project is the right answer, not a ban or a sale of the company.
“No other social media company, or entertainment platform like TikTok, provides this level of access and transparency,” he said.
The company started deleting the historical protected data of U.S. users from non-Oracle servers this month, Chew said. When that process is completed later this year, all U.S. data will be protected by American law and controlled by a U.S.-led security team.
“Under this structure, there is no way for the Chinese government to access it or compel access to it,” he said.
He said a TikTok ban would hurt the U.S. economy and small American businesses that use the app to sell their products, while reducing competition in an “increasingly concentrated market.” He added that a sale “would not impose any new restrictions on data flows or access.”
China’s leading music streaming company Tencent Music Entertainment Group (TME) reported on Tuesday a 9.3% decline in the company’s annual revenues last year, as falling earnings from its social entertainment services business compounded a decline in monthly active users on its music platform.
TME’s total revenues fell to RMB 28.34 billion (USD $4.11 billion) in 2022 from RMB 31.24 billion 2021, with revenues for the fourth quarter ending Dec. 31 having fallen by 2.4% to RMB 7.43 billion ($1.08 billion) compared to the fourth quarter in 2021.
TME, which owns streaming platforms QQ Music, Kugou and Kuwo, plus karaoke app WeSing, said revenues from its social entertainment services and others fell 19.8% in 2022 to RMB 15.86 billion ($2.30 billion). The number of paying users fell 24.3% due to the macroeconomic environment, competition from other platforms and COVID-19, the company said.
Revenues from music subscriptions rose 18.6% to RMB 8.70 billion ($1.26 billion) helping TME’s online music services revenues to increase overall by 8.9% to RMB 12.48 billion ($1.81 billion) for 2022. The number of paying subscribers grew by 22.7%. However, average revenue per user was slightly lower — RMB 8.6 in 2022 compared to RMB 8.9 in 2021 — due to higher marketing costs, and the number of mobile monthly active users (MAU) of its online music division fell 7.8% to 567 million in the fourth quarter.
“During the fourth quarter, as a result of macro headwinds, increased competition from other platforms and the surge in COVID cases social entertainment services MAUs and paying users declined year over year,” said Tony Yip, TME chief strategy officer, on a call discussing the company’s earnings on Tuesday.
China’s late-year increase in COVID cases as it loosened pandemic restrictions and increased competition also led to the year-over-year decline in online music mobile MAUs, Yip said.
Declining social entertainment services revenues held one benefit for TME: lower revenue sharing fees in 2022. That contributed to a savings of more than RMB 2.27 billion, as its cost of revenues for the year fell 10.4% year-over-year to RMB 19.57 billion ($2.84 billion).
This helped TME achieve an operating profit up nearly 17% to RMB 4.44 billion ($644 million) in 2022. Operating income is the income that remains after accounting for nearly all costs of doing business.
TME expects 2023 total revenues and profitability to be up from last year, and for the share of quarterly revenues coming from online music services will exceed those coming social entertainment services at some point this year as they continue to achieve “high quality growth in both subscription and non-subscription revenue,” Yip said.
Tencent Music Entertainment Group’s 2022 Highlights:
Mobile monthly active users (MAU) for its online music division fell 7.8% to 567 million in the fourth quarter 2022 from 615 million in the fourth quarter 2021
Mobile MAU for social entertainment fell 16.6% to 146 million in the fourth quarter of 2022 from 175 million in the fourth quarter 2021
Paying users of TME’s online music platform rose 16.1% to 88.5 million in the fourth quarter 2022 from 76.2 million in the fourth quarte 2021
Paying users of TME’s social entertainment platform fells 15.6% to 7.6 million in the fourth quarter 2022 from 9 million in the fourth quarter
China accused the United States on Thursday of spreading disinformation and suppressing TikTok following reports that the Biden administration was calling for its Chinese owners to sell their stakes in the popular video-sharing app.
The U.S. has yet to present evidence that TikTok threatens its national security and was using the excuse of data security to abuse its power to suppress foreign companies, Foreign Ministry spokesperson Wang Wenbin told reporters at a daily briefing.
“The U.S. should stop spreading disinformation about data security, stop suppressing the relevant company, and provide an open, fair and non-discriminatory environment for foreign businesses to invest and operate in the U.S.,” Wang said.
TikTok was dismissive Wednesday of a report in The Wall Street Journal that said the Committee on Foreign Investment in the U.S., part of the Treasury Department, was threatening a U.S. ban on the app unless its owners, Beijing-based ByteDance Ltd., divested.
“If protecting national security is the objective, divestment doesn’t solve the problem: A change in ownership would not impose any new restrictions on data flows or access,” TikTok spokesperson Maureen Shanahan said.
Shanahan said TikTok was already answering concerns through “transparent, U.S.-based protection of U.S. user data and systems, with robust third-party monitoring, vetting, and verification.”
The Journal report cited anonymous “people familiar with the matter.” The Treasury Department and the White House’s National Security Council declined to comment.
In late February, the White House gave all federal agencies 30 days to wipe TikTok off all government devices. Some agencies, including the Departments of Defense, Homeland Security and the State Department already have restrictions in place. The White House already does not allow TikTok on its devices.
Congress passed the “No TikTok on Government Devices Act” in December as part of a sweeping government funding package. The legislation does allow for TikTok use in certain cases, including for national security, law enforcement and research purposes.
Meanwhile, lawmakers in both the House and Senate have been moving forward with legislation that would give the Biden administration more power to clamp down on TikTok.
TikTok remains extremely popular and is used by two-thirds of teens in the U.S. But there is increasing concern that Beijing could obtain control of American user data that the app has obtained and push pro-Beijing narratives and propaganda on the app.
China has long been concerned about the influence of overseas social media and communications apps, and bans most of the best-known ones, including Facebook, Twitter, Instagram, YouTube — and TikTok.
TikTok was dismissive Wednesday of reports that the Biden administration was calling for its Chinese owners to sell their stakes in the popular video-sharing app, saying such a move wouldn’t help protect national security.
The company was responding to a report in The Wall Street Journal that said the Committee on Foreign Investment in the U.S., part of the Treasury Department, was threatening a U.S. ban on the app unless its owners, Beijing-based ByteDance Ltd., divested.
“If protecting national security is the objective, divestment doesn’t solve the problem: a change in ownership would not impose any new restrictions on data flows or access,” TikTok spokesperson Maureen Shanahan said. “The best way to address concerns about national security is with the transparent, U.S.-based protection of U.S. user data and systems, with robust third-party monitoring, vetting, and verification, which we are already implementing.”
The Journal report cited anonymous “people familiar with the matter.” The Treasury Department and the White House’s National Security Council declined to comment.
Late last month, the White House gave all federal agencies 30 days to wipe TikTok off all government devices.
The Office of Management and Budget called the guidance a “critical step forward in addressing the risks presented by the app to sensitive government data.” Some agencies, including the Departments of Defense, Homeland Security and State, already have restrictions in place. The White House already does not allow TikTok on its devices.
Congress passed the “No TikTok on Government Devices Act” in December as part of a sweeping government funding package. The legislation does allow for TikTok use in certain cases, including for national security, law enforcement and research purposes.
Meanwhile, lawmakers in both the House and Senate have been moving forward with legislation that would give the Biden administration more power to clamp down on TikTok.
Rep. Mike McCaul, the chairman of the House Foreign Relations Committee, has been a vocal critic of the app, saying the Chinese Communist Party is using it to “manipulate and monitor its users while it gobbles up Americans’ data to be used for their malign activities.”
“Anyone with TikTok downloaded on their device has given the CCP a backdoor to all their personal information. It’s a spy balloon into your phone,” the Texas Republican said.
TikTok remains extremely popular and is used by two-thirds of teens in the U.S. But there is increasing concern that Beijing could obtain control of American user data that the app has obtained.
The company has been dismissive of the ban for federal devices and has noted that it is developing security and data privacy plans as part of the Biden administration’s ongoing national security review.
There are many singers with golden voices, but a select few who sing with real passion. Jam Hsiao Ching-Teng has been beloved by audiences for over a decade due to his willingness to put himself out in the open and share his life experiences freely.
After a conversation with Hsiao, Billboard China came to the conclusion that his innate enthusiasm derives from his voice, his passion, and his clear and precise understanding of the music and entertainment industry, as well as the evolution of media itself. All of these facets have helped give his seemingly wild growth a sense of direction to concentrate upon.
Different Colors in the Era of Big Data
Nowadays, hit songs, including those by Hsiao, often undergo a kind of transformation when uploaded to Internet platforms. He admitted that he had mixed feelings when he first heard the DJ dance version of “A-Fei’s Butterflies” on the street. On one hand, he was happy that such an old song was still being sung. On the other hand, he was frustrated that all of the rich emotions conveyed in this dense piece of music were being “dumbed down” in order to fit into a formulaic musical genre.
“Data has gotten a stranglehold over us in recent years,” Hsiao says. “Tens of millions of pieces of music by different musicians have been molded into the same generic shape in order to conform to whatever is en vogue at the time in order to guarantee as many views as possible. How can quality work be heard when any trace of personality is hidden? It’s like putting the same exact frame over every single painting. For music, it’s incredibly important to have some different colors in the mix.”
Looking at his career, it is clear he has put a lot of effort into pursuing these “different colors,” and equally clear that he has occasionally paid the price.
When Hsiao made his debut, he was considered a strong vocal performer. He embarked on a world tour after just two albums. Refusing to be just a pop star, Hsiao quickly mastered different styles, including Western jazz and “one take.” Eventually, he decided to start a band, where his love for rock music led to him playing the role of both lyricist and composer. Meanwhile, his talent agency positioned him as a “singer who occasionally writes songs.” Later, it became evident that the era of rock ‘n’ roll has come and gone.
Set in his ways, Hsiao’s music has become more uniquely his with every subsequent album over the past two years, culminating in last year’s Quarantine Hotel Room 2827. Featuring minimalist compositions that utilize a combination of synth-pop and retro elements, this album may have had a divisive reception from Hsiao’s fanbase, but it quenched a desire that was residing in Hsiao’s heart at the time.
He wrote, composed, sang and recorded the entire album. An unprecedented creative experience for him, this allowed him to create an auditory and visual feast infused with his own personal stamp. Speaking on the album, Hsiao states, “What can you do? Perhaps Quarantine Hotel Room 2827 really was a failed attempt at something. The creative process for it was far from painless. Nevertheless, I didn’t want to give up on the ideas that I had, even if they wouldn’t be received warmly by audiences, because I found them to be a source of personal catharsis. I regard life as a process of constant self-discovery.”
By his own admission, Hsiao is a bit “crazy.” He refuses to remain stationary and yield to the overwhelming force that is the data age, even though he knows very well that his love songs would be popular with the public. The most tangible manifestation of this outlook is his paucity of hit songs in recent years.
If you ask Hsiao, however, this is the wrong takeaway. He is merely being honest with himself, refusing to blindly pursue any so-called experiments in a half-hearted way. He proclaims, “How can we present something to the public when we’re not satisfied with it ourselves? I’ll always stand behind any new song that I release, but at the end of the day, you can never tell what will or won’t be welcomed by the public and become a hit.”
One song on the album he is particularly satisfied with is “Nowhere to Hide.” His eyes light up when the song is mentioned. After a moment’s pause, however, he goes on to say, “In this age of data, I’m sure it’s not anyone’s favorite. I doubt it’s been heard by that many people.”
Musical variety shows should be fun.
With the previous generation of singers, Taiwan’s well-established record industry was the “midstream pillar” of Chinese music circles. Even during Jam Hsiao’s time, his style and voice were often covered and imitated by many China singers. However, not long into Hsiao’s career, things began to shift focus, and the entertainment industry continued moving northward. Nowadays, the only way musicians from Hong Kong and Taiwan can ensure long-term popularity is by securing a spot on a variety show in China. An extensive knowledge into the workings of Chinese television channels and Internet platforms is a must. For them, this is both the trend and a trial to overcome.
With solid singing skills and an endearing personality, Hsiao has been making waves on various variety shows, making him an outstanding musician among his peers who is “moving northward.” Hsiao even has a say in how musical variety shows in China are put on, as he has participated in them almost every year for the past decade.
As a singer who got his start from musical variety shows, he does not feel that coming on these shows is a sign of “going downhill,” as these shows have been a major influence in the pop music industry going all the way back to Elvis Presley, the King of Rock ‘n’ Roll. While the number of musical variety shows produced in the past two years is not large, there has always been a steady demand for them among music fans. Thanks to a more powerful online entertainment system and more efficient resource mobilization, the quality of musical variety shows in China will only continue to improve.
As an artist, Hsiao has pondered this topic in some detail. Certain directors will alter the structure, schedule, and program of the show according to Hsiao’s personal suggestions based on what he experiences, sees and hears. This often results in singers having an increased sense of “performance” during the show. Nothing is more frustrating for singers than when a director has the song selection and arrangement perfectly lined up in advance in order to avoid copyright concerns and chase after whatever the latest hits are.
Hsiao said, “Sometimes I’m also confused. Do users really like what the algorithms think they should like? Can we really predict what will become the next big hit? The entertainment industry is supposed to be a place full of joy and surprises. I think we should keep things light and carefree and stay true to ourselves. That way, we can create more natural, innovative products that have a different flavor to them, and finally give the audience the right to choose.”
Among all of the musical variety shows he has participated in, Duets (aka The Most Beautiful Harmonies) impressed him the most, and he has played the role of a “mentor” on the show for three seasons With this show, Hsiao has full autonomy in regard to the music selection, and also has a say in how the stage is set up, including lighting and positions. It is a lot of work, but he has never been anything but pleased when a performance goes off.
“Do you know what I am most proud of? I made a lot of bold choices on this show, really out-there stuff, and not only did the audience accept it, they liked it. They’ve got great taste. Why can’t we make these shows more fun when it’s now possible for us to reconcile the exploration of commercial value and artistic pursuits in a better way?” In Hsiao’s eyes, fun is one of the words most closely connected with music. He is always on the lookout for more fun-filled stages.
He also hopes that musical variety shows can “look at the big picture and be more detailed.” During his time in Las Vegas, Hsiao was astonished by the O and KÀ shows put on by Cirque du Soleil. He had never imagined that the stage could be used in such a splendid fashion. Using what was on hand, he began to explore how to alter his concerts in a way that would provide the optimal marriage between visuals and music.
Nowadays, musical variety shows are usually quite ornate and visually striking, but the entire production team must first consider whether such visual splendor is a good fit for the spirit of the song being performed, and whether the stage space is being utilized to its fullest extent.
Hsiao feels that cover songs are just as legitimate as the original. For him, there is no golden rule dictating which will garner more praise in the competition, and exquisitely crafted vertical programs can be more “universal” than universal ones. The key is that all musical productions should be meticulously refined. Previous experience and vision are the most important traits to possess, as no ready-made model can serve as the key to universal success, especially when modern audiences are arguably more experienced and knowledgeable than industry insider.
So long as we are alive, we need to fight for ourselves.
As an Aries, Hsiao possesses an innate enthusiasm and stellar work ethic.
Hsiao is the self-proclaimed “King of Self-study.” He taught himself magic tricks when performing with Jay Chou in Paris, learned sophisticated calligraphy that earned him praise from professional calligraphers, and has paintings on exhibit in Shibuya. Most of his musical skills are even self-taught.
Inspired by the Bon Jovi album Crush as well as other artists such as Mr. Big, Skid Row, Prince, and Michael Jackson, Hsiao first embarked on his musical journey as a rebellious teenager. To realize his rock dream, he learned to play keyboard and jazz drums so well that he was capable of teaching others.
As a guitar aficionado, he has become exceptionally proficient over the past two or three years. Once he sets his mind to something, he will not rest until he reaches a level that he is satisfied with.
When asked why he still wanted to learn guitar in his thirties, he responds, “I just couldn’t resist the allure of mastering the guitar, as it’s an instrument I’ve loved for so many years. It can also help broaden my horizons by providing me with an additional musical tool to use whenever I hit a creative roadblock.”
Before challenging other stars in One Million Star, he was a resident singer in restaurants. It was a gig that he relished, as it allowed him to be around music all day. When a colleague signed him up for the singing competition and he was “forced” into the spotlight, his ambition took over automatically, and he found himself gunning for first place.
As someone reluctant to change, Hsiao found the music industry baffling long after he had entered it and started releasing albums. Despite this, he put on a brave face and was a consummate professional in his work, learning various non-singing related skills in order to open up new prospects in his life. Going from the camera-shy person he was in the beginning of his career to the gregarious, effervescent, and effortlessly cool presence he gives off now was a long and painful psychological process. “I always say that I have two faces. Sometimes I can be very quiet. For newcomers, they may find it difficult to act animated in front of people, even though they know it’s necessary.” He said.
Hsiao still maintains the momentum of someone new to the business, even though some would say he has had a wildly successful career after ten years of endeavors. He professes, “Perhaps not too many people understand this, but I think that so long as we’re alive, we should always work hard and fight for ourselves. Having a job, especially at the moment, is a cause for celebration, so I can’t slack off.”
Not long ago, he announced that he would temporarily relocate to Chengdu due to the pandemic. At first he was just quarantined in a hotel in Chengdu for seven days in accordance with regulations. During this period, he fell in love with the cityscape, the food, and the climate of Chengdu and decided to reside there for some time.
In terms of music, Hsiao has more bold ideas that he has yet to act on. As his Beijing opera-inspired song in Wu Jia Po 2021 was extremely popular on the Internet, we asked Hsiao whether he was interested in further integrating classical and popular musical art forms in the future.
He said that he has tried many times to achieve this integration of musical styles, and that he wanted to further explore this relationship in order to create more unique musical combinations, “The works of Yngwie Malmsteen, my favorite guitarist, combines a lot of classical music elements. His songs are remarkable, as they are these intricate compositions embodying the elegance, order, and sense of ritual behind classical music, yet at the same time also feature dynamic metal progressions. So I am particularly looking forward to exploring this intermingling dynamic further.”
He also checks Billboard every week to learn about the latest trends in the international music scene trends of international music circles, something which he considers “homework” for singers.
He is very familiar with chart-topping songs from Taylor Swift, Harry Styles, Drake, and other musicians. He also knows the individual evolutions international celebrities have undergone with their musical images and styles. He said, “How is it that, in the international music scene, both newcomers and industry veterans always manage to come up with songs that leave an impression? By comparison, our music circle is a bit dull. What is the problem? I know we have a bright future ahead of us, but as for now, I am eager to work with my peers to make our music environment better.”
As a “music player” who has earned his spot in pop music circles through ten years of hard work, Hsiao said that he will never give up his appetite for music, and that he will continue to better himself in the pursuit of what he loves. This does not mean that he feels he should rush forward blindly in the days to come. Instead, he wishes to spend more energy listening, “For me, it’s important to figure out how my fans and the general public perceives me, as well as all the expectations they have for me.”