Course:ASIA319/2024/"Bai Piao" (白嫖)

From UBC Wiki

Introduction

In modern Chinese popular culture, the keyword "白嫖" (bái piáo) is becoming much talked about, reflecting a range of interrelated concepts about digital consumption, fan culture, and social responsibility. "白嫖 Bai Piao" goes loosely as free-riding or freeloading, denoting the behaviour of individuals enjoying content without financially supporting the creators, sights most common in the online community and entertainment platform. With ever-increasing digital media consumption and creators surviving by depending on fan support, there has been debate regarding its ethics, loyalty, and consumer behaviour in China. Investigating "白嫖 Bai Piao" is essential while underscoring the difference between consumer rights and creator expectations in a digital economy. The term encompasses a shift towards a consumption, engagement-driven culture where financial support is primarily considered a sign of loyalty or dedication. Looking at "白嫖 Bai Piao" allows us to track Chinese digital spaces' cultural dynamics and how fans, creators, and platforms negotiate the new norms of support, reciprocity, and belonging. This wiki entry aims to unpack the layers of meaning in '白嫖 Bai Piao' and consider why these implications go well beyond individual behaviour to shape cultural understandings of support and responsibility.

The genesis of the keyword

The term '白嫖 Bai Piao' first evolved from the idea of freeloading, referring to fans or followers who enjoy content without financially supporting the creators. It first became popular in fan circles (饭圈) around 2013 and later gained widespread recognition in the gaming industry [1]. Users in these digital spaces regularly consume content and entertainment services that grant them free access and use fan support, tips, or subscriptions to keep them sustainable. The term "嫖 Piao" was once a word of ill-meaning [2], but in the present case, it is to obtain benefits at no reciprocal end. "白 Bai" is added to "嫖 Piao" and then takes on the meaning of "take without give." While China developed live streaming, fan drive economies as users passively consuming without financially contributing became labelled "白嫖 Bai Piao" users. The term quickly spread in digital spaces, such as Bilibili, Douyin, and Weibo, where fans are encouraged to tip, gift, or pay for memberships to fans. The term "白嫖 Bai Piao" was a critical concept in digital Chinese culture and represented the emerging assumption that consumers should reciprocate content creators for what they enjoy. Broad changes in consumer expectations and the spread of online entertainment to the commercial sphere have led to an increasing 'soft sell' demonstration of non-paying customers as an example of social obligation and loyalty.

Glossary of its explicit dictionary meanings

While "白嫖 Bai Piao" is not widely documented in traditional dictionaries due to its recent emergence in online slang, we can break down the components of the term to understand its conventional meaning:

•           白 (bái): Literally, meaning 'white' or 'free,' something gained without price [3].

•           嫖 (piáo): This term historically has been associated with transactional relationships where it gains a benefit without giving a return [4].

Joined up, "白嫖 Bai Piao" connotes "free-riding" or "freeloading" by enjoying without participating. The internet slang "白嫖 Bai Piao" came from passive consumption in online spaces in the modern Chinese context. For instance, Livestream platform users who only watch the content but take no action to reward the host with some tips are regarded as '白嫖 Bai Piao.' With time, this word has slowly landed into discussions about digital content consumption, fan support, online community dynamics, and so on, almost always used to point fingers at the people who won't contribute and rather sit there, enjoying it with everything running behind them.

An elaboration of its variegated meanings, actual usages, and value-loaded implications

4.1 Multiple Explicit Meanings and Implicit Connections in Everyday Life

In the online community, a multifaceted behaviour spectrum of users, consisting of consuming content without financial support, was often described by the term "白嫖 Bai Piao." Take, for example, fans who watch live streams or follow artists but do not transact monetarily with the creator through purchasing fan merchandise, tipping, or subscribing because these will be labelled as "白嫖党" (báipiáo dǎng) or the "freeloading party." It's often a label that comes up in online discussions about what's real support vs what's not real support for creators and influencers [5]. It enters popular forums, bullet curtain comments (Danmu/弹幕), and even mainstream press discussions of fan culture, reflecting the feeling that digital consumption should come with some financial payback. Active users on Bilibili or Douyin (Chinese TikTok) commonly argue with "白嫖 Bai Piao" to show off their dedication and financial support to content creators. This brings to light a perceived stratification within fan communities, where paying fans may feel entitled to disagree with non-paying members because they were less committed [6]. The phenomenon of '白嫖 Bai Piao' is more than just describing the specific behaviour — it has been turned into an implicit judgment of someone's loyalty and participation in the community.

4.2 Shared Vocabulary Associated with "白嫖 Bai Piao"

In Chinese digital culture, other terms related to "白嫖 Bai Piao," which reflect a shared concern with handling the ethics of consumer support, have emerged. When we say "白嫖 Bai Piao," we have terms like 粉丝 (fěn sī, 'fans') or 赞助 (zàn zhù, 'sponsorship'). However, words such as 花钱 (huā qián, "spending money") or 打赏 (dǎ shǎng, "tipping") are used in a descriptive but active way to refer to people whose behaviour is supportive [7]. This language network reflects the moral expectations of digital support in contemporary Chinese culture. The proliferation of these terms in online discussions identifies the online social pressure on fans to stop being passive consumers and start being active contributors: a line began to blur between casual engagement and loyal support. For example, those actively tipping or subscribing to avoid "白嫖 Bai Piao" often earn more respect or status in fan communities, thus highlighting the role of financial support in today's digital fandom culture.

4.3 Counterpart Words in Western Pop Culture

There is no direct counterpart term in Western popular culture for Baipiao’s use in fan culture, but some terms that encapsulate similar notions of freeloading are:

Lurker

This word comes from the dictionary definition of “lurk”, a verb describing the act of hiding or sneaking around with the intent of ambushing someone or committing a bad deed [8]. In English social media, especially forum based ones like Reddit or message boards, being a lurker is slang for the act of not participating in an internet community that someone is a member of, only reading and watching the activities of the active members.[9]

Similar to "白嫖 Bai Piao" fans, lurkers within online communities can be seen as a negative, since they do not engage in the group they are a part of but only consume the content generated by others. To the active members, lurkers can feel like they are spying on and withholding information that could benefit the group as a whole, as well as not supporting the community through boosting engagement.[10] However, a notable difference between "白嫖 Bai Piao" fans and lurkers is that it is encouraged to lurk in some communities, especially if the lurker is new. This is done so that the newcomer is able to learn the rules and social norms of the community, to see if the community is a good fit for their intentions, and to avoid repetitive topics or questions. [11]


Piracy

Piracy is originally used to describe the act of robbing ships at sea, and pirates are those that commit piracy.[12] However, today piracy is used mainly to refer to digital piracy: the act of copying/distributing copyrighted material through the internet.[13]

Like the original freeloading definition of "白嫖", piracy also allows someone to benefit for free by consuming other's content without financially supporting the creators. Unlike "白嫖", piracy is illegal. Besides legality, the ethics and morality of piracy in western culture is complicated, with much discourse on either side, rather than just the straightforward negative view of "白嫖".

Pro-piracy camps argue that piracy is justified as a form of resistance against the large corporations who only seek to maximise their profits through consumer-unfriendly practices.[14] Examples of such include a shift to a subscription model for many streaming services each with their own exclusive content, making it inconvenient and pricey for the viewer who may only want to watch a few select shows, or the concept of digital ownership, where legally bought games, movies, and software still have limitations, and companies are able to change or remove purchased content through forced updates.[15] Piracy is also often the only way to obtain media that have regional limitations or are no longer sold, leaving no legal alternative. In this way, piracy may actually work to preserve digital media, acting outside the barrier of copyright laws and patents. [16]

Anti-piracy camps point to the billions of dollars in financial losses that piracy causes to the creative industry from less legal sales, leading to jobs lost and a decrease in new creative talent development from the resulting funding cuts. They argue that although there are benefits, they do not outweigh the cost on the industry as a whole.[17]

4.4 How Conventional Meanings are Transferred, Distorted, or Subverted

Originally associated with freeloading or free-riding, "白嫖" conveys enjoying content or benefits without financial reciprocation. In digital fan communities, this term carries undertones of judgment, as it labels those who consume content without financially supporting creators. While "嫖" (piáo) traditionally implied transactional relationships, its recontextualization with "白" (bái) reframes it as passive consumption in online spaces. Over time, "白嫖" evolved to critique consumer behaviour that lacks reciprocity, where paying fans are considered more loyal and "authentic." [18]

Much like "tongzhi" transitioned from a political term to a synonym for LGBTQ+ identities, "白嫖" has developed various connotations within and beyond China. Internationally, there are no precise equivalents, but terms like "lurker" or "pirate" in Western internet slang loosely approximate "白嫖." In online communities, Western terms connote a similar sentiment of "taking without giving back," but do not carry the same social obligation or moral judgment found in Chinese fan circles. In Chinese popular culture, "白嫖" has gradually become an identifier of fan dedication and a moralized boundary within online communities.

Loyalty and Financial Obligation in Fan Communities

"白嫖" establishes a moral hierarchy among fans, where those who pay are considered more loyal and supportive. This stratification encourages fans to financially contribute through tips, subscriptions, or merchandise purchases, positioning support as a duty rather than a choice.[18]

Digital Economy and Platform Expectations

With the proliferation of platforms like Bilibili and Douyin, where creators rely on fan contributions, "白嫖" underscores broader digital economy dynamics, where users are encouraged to tip or subscribe as indicators of engagement and value. [18]

Emotional and Social Impact of Consumption Without Reciprocity

In a rapidly urbanized China, online fandoms provide social connections, often replacing traditional social bonds. Consequently, fans who choose not to contribute financially may face social pressure or ostracism. This shifts the culture of digital spaces toward a system where financial involvement equates to social belonging, challenging notions of fandom as an egalitarian community.

Social, cultural, and political implications

Fandom as a Place of Social Connections

The rise of fan communities starting from the late 1990s reflects the urbanization and the highly market-orientated transformation of Chinese society from the traditional acquaintance society where people are closely linked through geographical and familiarial relationships.[19] In today’s culture, people are no longer constrained by the traditional agricultural society due to the rapid increase in mobility and change in lifestyle offered by urbanization. As a result however, this leads to an increase in emotional and social loneliness from those having to adapt to new ways of life where they may feel alienated and the weakening of family bonds, in both the individuals who leave home for the city and the ones who stay behind in rural villages.[20]

Other contributors to feelings of isolation and loneliness in modern China include factors such as the high-stakes education system encouraging students to sacrifice social interactions and hobbies in order to focus on their studies for the sake of their future success,[21] the one child policy with its lasting impacts of the skewed sex ratio and increased pressure in caregiving for elderly parents,[22] and the fast pace and competition of life in the big cities.[23]

The rise of the internet allows for new types of communities to emerge to fulfill people’s social and emotional needs, with ways to build connections with others through social media, gaming, and other forms of entertainment. Fandoms and fan communities are one such example, providing the sense of belonging many are seeking within a group of others who like the same things, making it easier to build friendships and feel the joy of social interaction through indulging in their shared hobby.[24] Fandoms have a low barrier to entry- almost any type of media will have one, and being a participant can be as simple as writing a post on social media under the specific tag. Fan communities are also highly organized, with rules and hierarchies, much like a reflection of real life societies. By participating and climbing the ranks within a fandom, there is a sense of exclusivity and pride in the identity of being a “real fan”[25], as well as a feeling of self-realization through contributing to the popularity and success of a favourite idol, television show, or game. In such spaces, unique code has developed in order to separate the outsiders from the “true fans,” including terms such as 白嫖.

The Consumer Culture of Chinese Fan Communities

Chinese fan communities and identities are linked closely with consumption, seen through the extremely negative connotations of 白嫖 in fan spaces, where not spending labor or money towards an idol means that one does not contribute to their wellbeing and success, and cannot be called a real fan. [26] The types of fan communities in China have radically changed in the last decade, no longer a grassroots type of hobby but rather a major power affecting the revenue generation of the idol industry.[27] This change was brought facilitated by the internet and social media, where for the first time, a fan could interact with their idol. One of the first examples of the current standard of intense fan communities occurred in the 2000s with the release of the Super Girl television series, where fans were able to directly influence the results of the competition by voting through text messages. [28]

A driving force behind this type of new fan communities are fan clubs, 粉丝后援会, highly self-organized groups supporting a specific idol, often lead by professional individuals from the idol’s management team with the ability to communicate directly with the industry.[25] This is commonly not disclosed to the other members of the club, who are then able to be influenced to work for the benefit of the idol through performing digital labour, examples of which include making multiple accounts to vote in popularity polls, streaming a new release on loop to boost listener numbers, and seeking out negative news about the idol and cover it up with positive stories, not to mention acts of creative labour like producing fanwork, or direct consumption like buying merchandise.[29]

It is not uncommon for idols to collaborate with brands making skincare, fashion, or food products, which then often sell out quickly due to the purchasing power of their fans.[30] The number of sales of endorsed items has become a measure of an idol’s success, and fans (as well as brands) have rallied around this point to encourage one another to spend for their favourites, pointing out those that do not spend enough as being disloyal and not a part of the fan community.[31]

A recent example of excess consumption by misguided fans is the 2021 spilled milk controversy involving Youth With You 3, in which one of the sponsors of the idol show created a marketing campaign where QR codes on their milk drinks could be scanned to cast extra votes in a popularity contest.[32] Fans of specific contestants organized and quickly bought up large amounts of the drinks, harvesting the codes and pouring the contents into the sewer in a viral video that demonstrated the excessiveness and waste. Criticism was quickly brought up about the food waste as well as the manipulative profiteering done by the producers of the show as a form of buying votes for money. Netiziens placed the most of the blame on the production team and sponsors, who made the choice to have the codes on the inside of the caps so that they can’t be donated after fans have used the codes, but discussions about the behaviour of the fan clubs were brought up as well [ ]. As a result of this scandal, idol shows and fan culture came under heavy scrutiny from the public and the government, Youth With You 3 was cancelled, while government regulation was put in place to attempt to curb unwanted fan behaviour.[33]

Fandom Nationalism

Lastly, the use of 白嫖 denotes the power of fandom culture, and how governments can take advantage of that in order to influence the population. Fandom culture in China is not only a way to build community and earn profits, but can also be used to spread propaganda and pro-government ideas as well. [34] Because of fans’ loyalty and emotional attachment to their idols, they will also be receptive to the beliefs and ideals they spread.

The entertainment industry is under heavy influence from the government, with the CCP constantly guiding what should be released to the public in order to further the political agenda and ideology of the state. [35] One way idols are controlled by the government is through censorship, where celebrities that express controversial views and behaviours against those of the state will have their names blacklisted, works removed, and publicly “named and shamed” in central state media. Other factors include governing social media and promoting the idols that fit the ideal of the state. [35]

An example of this is shown in the boy band TFBoys, one of the most popular and well known idol groups in China, especially among the youth who are drawn in by the relatability and upbeat personas of the idols. On Weibo, the members of the band actively interact with the posts of the Chinese Communist Youth League, the youth branch of the CCP party. [36] They sing songs with theme messages of being an heir to communism and serving the collective, while portraying an ideal positive image of hardworking schoolboys through their actions and costumes. They sing songs with the message of being an heir to communism and serving the collective, while portraying an ideal positive image of hardworking schoolboys. In turn, the government promotes them through the entertainment industry as well, having featured them in the CCTV New Year’s Gala for four consecutive years as of 2019. [37]TFBoys is a form of pop propaganda meant to influence the new generation, subtly adapted to the new age of online fandoms. They have also achieved some overseas success, allowing the government to further spread soft power through the power of idols. [38]

Studies related to the keyword

The term "白嫖" (bái piáo), translating to "free-riding" or "freeloading," has gained prominence in Chinese digital culture, particularly within fan communities. It describes individuals who consume content without providing financial support to creators, highlighting the evolving dynamics of consumer identity in digital spaces. To understand this phenomenon comprehensively, it's essential to examine insights from cultural studies, sociology, and psychology.

Cultural Studies: Consumer Loyalty and Fan Culture

In cultural studies, the interplay between consumer loyalty and fan culture is pivotal. The concept of "白嫖" underscores tensions between digital access and monetization, as fans navigate their roles as consumers and supporters. Research indicates that fans often use financial contributions to construct identities and attain social status within online communities. For instance, a study on China's fan economy reveals that fans view supporting their idols as a cultural obligation, willingly spending on merchandise and activities to demonstrate their dedication. [39]


Sociology: Transformation of Fandom and Consumerism

From a sociological perspective, fandom has transformed from voluntary support to financially driven loyalty. This shift reflects broader societal changes where consumerism and social belonging intersect. Fan communities, especially in China, have become highly organized, with members engaging in activities like purchasing endorsed products to boost their idols' commercial success. This behaviour illustrates how consumer culture influences social structures within fan communities. [40]


Psychology: Impact on Fan Engagement and Social Dynamics

Psychologically, the label "白嫖" can affect fan engagement and self-perception. Being identified as a "白嫖" fan may lead to feelings of guilt or exclusion, influencing one's participation in fan activities. The pressure to financially support idols can alter social dynamics within fan groups, creating hierarchies based on monetary contributions. This phenomenon highlights the complex relationship between individual behaviour and group expectations in digital fan cultures. [41]

In summary, the concept of "白嫖" in Chinese digital culture reflects intricate relationships between consumer behavior, social identity, and community dynamics. Insights from cultural studies, sociology, and psychology provide a comprehensive understanding of how financial support in fan communities extends beyond economic transactions, influencing social structures and individual identities.

Conclusion

In conclusion, "白嫖" (bái piáo) reflects a complex evolution within Chinese digital culture, where notions of loyalty, consumer identity, and social belonging converge. Originally signifying freeloading, the term has taken on layered meanings within online fan communities, where financial support is increasingly seen as a marker of loyalty and dedication. The widespread use of "白嫖" highlights shifting expectations in digital consumption, where passive engagement is visible and often judged. This dynamic creates hierarchies within fan communities, distinguishing between those who support creators financially and those who do not.

The implications of "白嫖" extend beyond simple online etiquette, tapping into deeper issues of consumer behaviour, social pressure, and community dynamics in digital spaces. Financial contributions symbolize personal values and social alignment, intertwining individual behaviour with collective norms. This cultural shift underscores the impact of the digital economy on interpersonal relationships and identity formation in online communities.

Future research could explore how "白嫖" and similar concepts are received and adapted in other cultures, potentially comparing fan communities globally. Additionally, investigating the psychological effects of such social pressures within online communities could shed light on the role of digital culture in shaping consumer identities and social norms.

References

  1. ↑ 飞笺 (2024). "游戏平台进入"白嫖"新时代，Steam、育碧、Epic，快进来"白嫖"！".
  2. ↑ 清風明月逍遥客 (2020). ""嫖"为什么从褒义词变成了贬义词".
  3. ↑ Ayana (2019). "The Different Usages of the Character 白. Chinese Language Blog | Language and Culture of the Chinese-Speaking World".
  4. ↑ HanBook (2022). "嫖 (piáo) Definition & Meaning - What does 嫖 mean in Chinese | HanBook Chinese Dictionary".
  5. ↑ 小卢鱼 (2022). ""白嫖"心态伤害内容社区，"为爱发电"的B站还能撑多久？".
  6. ↑ 青年横财发展会 (2020). "不花钱不配当粉丝".
  7. ↑ 维基词典. (2022). "打賞".
  8. ↑ "Lurk". Merriam-Webster. 10 Nov. 2024. Check date values in: |date= (help)
  9. ↑ "Lurk". Urban Dictionary. 15 Oct 2024. Retrieved 10 Nov 2024. |first= missing |last= (help)
  10. ↑ "Lurking: an overview". NomadWarMachine. Mar 2022. Retrieved 10 Nov 2024.
  11. ↑ Preece1, Nonnnecke2, Andrews3, Jenny1, Blair2, Dorine3 (Mar 2004). "The top five reasons for lurking: improving community experiences for everyone". Computers in Human Behavior. 20: 201–223 – via Science Direct.CS1 maint: multiple names: authors list (link)
  12. ↑ "Piracy". Merriam-Webster. 10 Nov. 2024. Check date values in: |date= (help)
  13. ↑ "Digital Piracy". Interpol. 10 Nov. 2024. Check date values in: |date= (help)
  14. ↑ Doctorow, Cory (8 Dec. 2023). "Pluralistic: "If buying isn't owning, piracy isn't stealing"". Pluralistic: Daily links from Cory Doctorow. Retrieved 10 Nov. 2024. Check date values in: |access-date=, |date= (help)
  15. ↑ Horner, Johnathon (1 Sept. 2024). ""If Buying isn't Owning, then Piracy isn't Stealing"". Medium. Retrieved 10 Nov. 2024. Check date values in: |access-date=, |date= (help)
  16. ↑ Twice, Erik (28 Feb. 2024). "Without piracy, the history of video games is lost". Erik Twice. Check date values in: |date=, |archive-date= (help)
  17. ↑ "What's so bad about Piracy?". Creative Content Australia. 10 Nov. 2024. Retrieved 10 Nov. 2024. Check date values in: |access-date=, |date= (help)
  18. ↑ 18.0 18.1 18.2 Ma, Shangnan (Summer 2024). "网络流行语"白嫖"的语义、语法及其演变研究". 网络流行语“白嫖”的语义、语法及其演变研究.
  19. ↑ Nan, Zhang (26 May 2024). "How China's fan culture fans the flames". Global Times. Retrieved 10 Nov 2024.
  20. ↑ Chen1, Gong2, Juan1, Lin2 (6 Jun 2021). [10.1111/hsc.13451 "Loneliness in urbanising China"] Check |url= value (help). Health Soc Care Community. 30: 812–822 – via NIH.
  21. ↑ Fu, Yuning (29 May 2024). "The Impact of Gaokao High-Stakes Testing on Student Mental Health in China: An Analysis of Stress Levels and Coping Mechanisms Among Senior High School Students". Research and Advances in Education. 3: 23–32 – via Paradigmpress.
  22. ↑ Zhan1, Montgomery2, Heying1, Rhonda2 (Apr 2003). "Gender And Elder Care In China: The Influence of Filial Piety and Structural Constraints". Gender & Society. 17 – via Sage Journals.
  23. ↑ "Viewpoint: Fear and loneliness in China". BBC News. 17 Oct 2012. Retrieved 10 Nov 2024.
  24. ↑ Chao, Jia (19 Apr 2022). "Fandom culture expands sociological studies". Chinese Social Sciences Today. Retrieved 10 Nov 2024.
  25. ↑ 25.0 25.1 Dan1, Jingya2, Jiajun3, Mao1, Wang2, Chen3 (6 Nov 2023). "Observations of Chinese fandom: organizational characteristics and the relationships inside and outside the "Fan circle"". The Journal of Chinese Sociology. 10 – via Springer Open.CS1 maint: multiple names: authors list (link)
  26. ↑ Sun, Meicheng (22 Dec 2022). "K-pop fan labor and an alternative creative industry: A case study of GOT7 Chinese fans". Global Media and China. 5 – via Sage Journals.
  27. ↑ Zhang, Weiyu (9 Aug 2024). "The 30 years of China's online fandom". Communication and the Public – via Sage Journal.
  28. ↑ Joffe-Walt, Benjamin (7 Oct 2005). "Mad about the girl: a pop idol for China". The Guardian.
  29. ↑ "娱乐圈塌方背后：记者卧底"饭圈"揭秘潜规则". Huxiu. Retrieved 10 Nov 2024.
  30. ↑ Stanchenko, Lida (9 Sept 2021). "Idol worship and fan culture in China, explained". The China Project. Retrieved 10 Nov 2024. Check date values in: |date= (help)
  31. ↑ Ge1, Wang2, Liang1, Erika2 (16 May 2022). "Scapegoating Fandom: Digital Colonialism, Capitalism, and Chinese Party-State Power". Critical Asian Studies. Retrieved 10 Nov 2024.
  32. ↑ Che, Chang (10 May 2021). "Video streamer iQIYI cancels a season finale over milk waste controversy". The China Project.
  33. ↑ Lianzhang, Wang (6 May 2021). "Chinese Idol Show Shut Down Over Spilled Milk". Sixth Tone.
  34. ↑ Liao1, Koo2, Rojas3, Xining1, Alex2, Hernando3 (6 Apr. 2022). "Fandom nationalism in China: the effects of idol adoration and online fan community engagement". Chinese Journal of Communication. 15: 558–581 – via Taylor and Francis Online. Check date values in: |date= (help)CS1 maint: multiple names: authors list (link)
  35. ↑ 35.0 35.1 Xu1, Yang2, Jian1, Ling2 (8 Apr. 2021). "Governing entertainment celebrities in China: practices, policies and politics (2005–2020)". Celebrity Studies. 12: 202–218 – via Taylor and Francis Online. Check date values in: |date= (help)
  36. ↑ Xia, Shouzhi (15 Nov. 2023). "Fandom Culture as a Catalyst for Propaganda". The China Quarterly , First View. 1: 1–10 – via Cambridge University Press. Check date values in: |date= (help)
  37. ↑ Schmitz, Rob (8 Aug. 2017). "TFBoys' 'Go!AMIGO' Is A Summery Slice Of Pop Propaganda". NCPR. Retrieved 10 Nov 2024. Check date values in: |date= (help)
  38. ↑ Kan, Karoline (6 May. 2017). "In China, It's the Party That Keeps the Boy Band Going". Check date values in: |date= (help)
  39. ↑ "Understanding the Phenomenon: An Introduction to China's Fan Economy".
  40. ↑ "Idol Worship: How Does It Influence Fan Consumers' Brand Loyalty?".
  41. ↑ "Impact on Fan Engagement and Social Dynamics".
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