How many Chinese are active in online karaoke apps every month? According to the "2020 China Online K-Song Social Entertainment Industry Development Insights White Paper", the answer to this question is 220 million. This is not a small number, representing that one out of every five netizens is an active fan of the online karaoke app. Considering that online karaoke is a fairly vertical application scenario, the scale of more than 200 million means that it already has a good user base. There is no doubt that the sudden outbreak of the epidemic last year has promoted the development of online karaoke applications. Under the background of the collective home isolation of the whole people, online karaoke is used by many users as a pressure relief valve, and related applications have also gained a group of new active users; even in the daily time period outside the epidemic ,
it can also clearly feel that more users are also flocking to the online K song application, where they not only entertain and show themselves, but also socialize and find friends here. In the past, people's impression of the online K-song application was more on its tool attributes, and it was regarded as the online twin brother of offline KTV; but the current reality is that more and more young people are using It is regarded as a new emotional tree hole, which job title email list superimposes more emotional and social attributes on top of the traditional tool attributes. When facing the constant pressure of life and work, online karaoke apps are becoming a field for them to release, resolve and express their emotions. 1. The emotional tree hole on the wheel of the times In "The Sorrows of Young Werther", a German writer wrote "Which boy is not affectionate? Which girl is not cherishing spring?";
the poet Xin Qiji of the Southern Song Dynasty also left behind "Young people do not know the taste of sorrow, but for the sake of writing new words, they say it." famous sentence. These widely circulated words almost all point to the same thing, which is that young people are generally more emotional than other age groups. Therefore, in each era, they need to find the tree hole that belongs to this generation to release their abundant emotions. It is precisely because of this significant difference in demographic attributes that a large number of entertainment formats with different characteristics have been born in different eras. To a certain extent, these different patterns are allowed to blossom and bear fruit because of the emotional tree holes that young people of different eras need to decompress and express. If you look at it from a longer time dimension, it is easy to find these business formats that are constantly intertwined with the rise and fall on the wheel of time.