China Arts & Entertainment

Behind 8 Billion Streams: Who is Dao Lang Cursing in the Chinese Hit Song ‘Luocha Kingdom’?

What’s behind the Dao Lang hit song that has everyone talking these days?

Published

1 year ago

August 3, 2023

“Who is being mocked and cursed in this song?” This question has ignited a wildfire of speculation across the Chinese internet, as a recently released folk song by a relatively low-profile singer has amassed a staggering 8 billion plays, surpassing the success of previous hit songs.

A newly released Chinese song, composed and sung by a 52-year-old singer who was primarily active in the 2000s, has achieved an astounding milestone of 8 billion streams in less than two weeks since its release.

The song, titled “Luosha Haishi” (罗刹海市; “Raksha Sea Market” or “Luocha Kingdom”), has been widely acclaimed on various social media platforms, with many claiming that it has surpassed the Guinness World Record for the most streamed track worldwide, a record previously held by “Despacito” in 2017 with 5.5 billion plays. The official Weibo account of Guinness World Records recently stated that they haven’t received any application for a new record yet, and thus, no record has been officially confirmed broken at this time.

However, even 8 billion plays alone are enough to marvel at. The sudden surge in popularity of a song created by a low-profile singer, who has not participated in any major shows or held performances for the last few decades, has raised numerous questions: Who is the singer? What is in the song? And why has it become viral in China? We’ll answer some of these questions for you here.

Question 1: Who is Dao Lang?

Dao Lang (刀郎), whose real name is Luo Lin (罗林), embarked on his musical journey at a young age. Born in 1971, he made the decision to leave school at the age of 17 and fully immerse himself in learning keyboard instruments at a music hall in Neijiang. Over the next four years, he ventured to different locations such as Chengdu, Chongqing, Tibet, and Xi’an, where he gained experience and honed his musical skills. Throughout the 1990s, he actively participated in various music projects and bands, shaping his career in the music industry.

In 2004, Dao Lang’s album The First Snow of 2022 (2002年的第一场雪) was unexpectedly well-received, winning him nationwide popularity. After enjoying success with previous albums, Dao Lang diversified his musical endeavors, collaborating with other artists and exploring different genres, such as folk and ethnic music. Between 2010 and 2012, he participated in various performances and events, including appearing at Hong Kong singer Alan Tam’s concert and the Television Arts Evening Celebration for the 90th Anniversary of the Communist Party of China’s founding.

Dao Lang (Weibo).

Subsequently, Dao Lang appeared to withdraw from social media, only resurfacing with two albums in 2020 and 2021, which were released with minimal promotion. However, it is his latest album, titled There Are Few Folk Songs (山歌寥哉) that has brought him back into the public eye, primarily due to the “Luosha Haishi” song.

Question 2: What’s the Song About?

What makes a song so powerful that it has brought Dao Lang back into the public’s attention after almost 20 years?

The song carries strong folk and ethnic elements, and the lyrics are quite cryptic. The song itself has the same title as an ironic story in the famous Liaozhai Zhiyi (聊斋志异), or Strange Stories from a Chinese Studio, a collection of supernatural and ghostly tales written by Pu Songling (蒲松龄) during the Qing Dynasty (1644-1911).

The song’s sudden popularity is mainly attributed to the mocking implication embedded in the lyrics.

One particular verse, in particular, has sparked significant discussion:

那马户不知道他是一头驴
That Don Kee does not know that he is a donkey
那又鸟不知道他是一只鸡
That Scarlet does not know that she is a whore
勾栏从来扮高雅
Brothels have always pretended to be elegant
自古公公好威名
Since ancient times, eunuchs are fond of their mighty reputation

The terms “Mǎ Hù” (马户) and “Yòu Niǎo” (又鸟), translated here as ‘Don Kee’ and ‘Scarlet’ ¹, are not commonly used terms in modern Chinese. Mǎ Hù (马户) is a combination of the characters 马 (mǎ), meaning “horse,” and 户 (hù), meaning “household” or “family.” If these two are combined as one character, you get “驴” (lü), meaning “donkey,” hence the ‘Don Kee’ translation to English.

Similarly, “Yòu Niǎo” (又鸟) is a made-up term consisting of two character components that, when put together, means “chicken” (“鸡”, jī).

Both ‘donkey’ and ‘chicken’ have been used as curses in China. People use phrases such as “as silly as a donkey” (“蠢得像头驴”) to describe foolish behavior. On the other hand, the term “chicken” (鸡) often implies prostitution when used in the singular form, but it can also take on the meaning of “trashy” (辣鸡, a phonetic adaptation of the word 垃圾, rubbish) or “weak” (菜鸡) when combined with other characters.

The term that is translated as “brothel” here is “gōulán” (勾栏), which refers to a type of performance venue for opera in urban areas during the Song and Yuan dynasties but is also used to refer to brothels.

The term “gōng gong” (公公) is used to address the father of one’s spouse, but is also has additional meanings and was historically used as an appellation for eunuchs, (castrated) male servants in the imperial court.

So we could say that the first two lines of these lyrics can be interpreted as mocking or cursing people who are unaware of their own silliness or weak status. When combined with the third and fourth lines, which describe things that are pretentious, we can deduce that these lyrics are meant to point out how some people perceive themselves as much more than they actually are, vainly focused on how they portray themselves to others and their status.

Question 3: Who is Dao Lang Cursing in This Song?

There are various online theories on what or who Dao Lang is actually referring to in this song.

◼︎ One trending theory is that it is about Na Ying (那英). Na Ying is a Chinese singer who rose to national fame after serving as a coach in the the popular television singing show The Voice of China in 2012.

Despite gaining recognition in 2004 for his album The First Snow of 2002 (2003), Dao Lang was not widely celebrated as an artist at that time. When Chinese media asked various artists about their thoughts on the ‘rising star’ Dao Lang, he was often criticized and belittled. Among those with the deepest grudge against Dao Lang, it is widely rumored that Na Ying was the one.

In 2010, during the selection of the “Top 10 Most Influential Singers of the Decade,” Na Ying, as the jury chairwoman, vehemently opposed Dao Lang’s inclusion. She allegedly believed that Dao Lang’s songs lacked aesthetic value, despite their high sales, and that music should not be solely judged based on sales volume.

Na Ying commented that Dao Lang’s songs lack of aesthetic characteristic in the 2013’s show (source).

This publicly known clash with Na Ying has sparked widespread speculation that the person subtly mocked by Dao Lang in his song is actually her. Moreover, some interpret the repetition of the character “那” (nà, “that”) throughout the song as a reference to Na Ying’s surname.

Soon after the album’s release, Na Ying’s social media accounts were inundated with netizens convinced that the song was directed at her. Her follower count on Douyin (Chinese TikTok) surged from 770,000 to 1,800,000, and her recent video garnered millions of comments, with many referencing Dao Lang’s song and blaming her for belittling Dao Lang back in the day.

◼︎ Another trending theory is that Dao Lang is cursing the popular music talent show The Voice of China and its coaching panel. Besides Na Ying, singers Yang Kun and Wang Feng also received ten thousands of comments related to Dao Lang’s song on their social media accounts.

One of the reasons why people think the song refers to the show is because it contains the line “Before speaking, they turn around” (“未曾开言先转腚”), which reminds people of the show’s “chair turning moment” in which coaches, whose chairs are turned away from the blind audition stage, can press a button that turns their chair around to face the stage if they are impressed by the contestant’s voice and want to work with them.

In the 2015 season of “The Voice of China,” Wang Feng, Na Ying, and Yang Kun (from the second left to the right) participated as coaches (image source).

◼︎ A third trending theory suggests that the song’s meaning extends far beyond the music industry and carries geopolitical implications. Some netizens have let their imaginations run wild, arguing that the song is actually mocking the United States. The opening line “The land of Rakshasa extends 26,000 li to the east, crossing the Seven Gorges and the scorched Yellow Mud Land of three inches” (“罗刹国向东两万六千里，过七冲越焦海三寸的黄泥地”) is a point of focus.

Since 26,000 li is a traditional Chinese unit of distance, equivalent to half a kilometer, some believe it aligns precisely with China’s territory. Consequently, they speculate that the Rakshasa country, located 13,000 kilometers west of China, is a metaphor for the United States.

The Aftermath

Amidst the nationwide speculation on whom Dao Lang is targeting in his song, several “suspects” have responded to netizens’ guesses. Some chose to resolve the controversy humorously, while others indirectly expressed their distress over the online abuse stemming from these unfounded speculations. Recent reports indicate that Na Ying, in her latest debut, seemed to be greatly affected by the harsh comments made by netizens.

While the speculations surrounding the song have garnered significant attention for both the song and the singer, some discussions are not necessarily constructive. As some netizens point out, the song might not even aim to curse anyone.

It could also be that the song is simply inspired by one of the stories in the book Strange Stories from a Chinese Studio (聊斋志异), which is set in a place called Rakshasa Country, located 26,000 li west of China, resembling a bustling market. In this country, people have peculiar and bizarre appearances, and the more non-human they look, the more attention they receive, while those who appear human live at the bottom of society. Therefore, it is possible that the song aims to narrate these stories instead of attacking someone in particular.

Moreover, the extensive speculations surrounding the song’s intention have also seemingly transformed Dao Lang’s music from a source of enjoyment into a source of analysis, with netizens now meticulously scrutinizing every lyric line.

Among the billions of streams, it begs the question: how many listeners are genuinely enjoying Dao Lang’s music, and how many are just eager sleuths, searching for clues to support their theories about the song’s targets? This raises some curiosity about the true significance of the song’s popularity.

On the other hand, Dao Lang would likely not mind if the song eventually finds its place in the Guinness Book of Records, alongside a note that recognizes it as “the no 1 one most-played hit song that kept everyone guessing.”

By Zilan Qian
Follow @whatsonweibo

1. Part of the translation provided, namely the translation of ‘Ma Hu’ 马户 as ‘Don Kee’ and ‘You Niao’ 又鸟 as ‘the scarlet woman’ was created by Xiangdong Zhu & Ning Wan on Wenxuecity.com on August 1st 2023, although the original page has since been deleted.

This article has been edited for clarity by Manya Koetse

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Part of featured image via Xigua Shipin.

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China ACG Culture

“Black Myth: Wukong”: From Gaming Screens to the CMG Spring Festival Gala?

Published

17 hours ago

January 21, 2025

Manya Koetse

FROM THE WEIBO WATCH PREMIUM NEWSLETTER

Is Chinese game sensation ‘Black Myth Wukong’ making a jump from gaming screens to the CMG Spring Festival Gala? There’s already some online excitement over a potential performance at the biggest liveshow of the year.

The countdown to the most-watched show of the year has begun. On January 29, the Year of the Snake will be celebrated across China, and as always, the CMG Spring Festival Gala, broadcast on CCTV1, will air on the night leading up to midnight on January 28.

Rehearsals for the show began last week, sparking rumors and discussions about the must-watch performances this year. Soon, the hashtag “Black Myth: Wukong – From New Year’s Gala to Spring Festival Gala” (#黑神话悟空从跨晚到春晚#) became a topic of discussion on Weibo, following rumors that the Gala will feature a performance based on the hugely popular game Black Myth: Wukong.

Three weeks ago, a 16-minute-long Black Myth: Wukong performance already was a major highlight of Bilibili’s 2024 New Year’s Gala (B站跨年晚会). The show featured stunning visuals from the game, anime-inspired elements, special effects, spectacular stage design, and live song-and-dance performances. It was such a hit that many viewers said it brought them to tears. You can watch that show on YouTube here.

While it’s unlikely that the entire 16-minute performance will be included in the Spring Festival Gala (it’s a long 4-hour show but maintains a very fast pace), it seems highly possible that a highlight segment of the performance could make its way to the show.

Recently, Black Myth: Wukong was crowned 2024’s Game of the Year at the Steam Awards. The game is nothing short of a sensation. Officially released on August 20, 2024, it topped the international gaming platform Steam’s “Most Played” list within hours of its launch. Developed by Game Science, a studio founded by former Tencent employees, Black Myth: Wukong draws inspiration from the classic Chinese novel Journey to the West. This legendary tale of heroes and demons follows the supernatural monkey Sun Wukong as he accompanies the Tang Dynasty monk Xuanzang on a pilgrimage to India to retrieve Buddhist scriptures. The game, however, focuses on Sun Wukong’s story after this iconic journey.

The success of Black Myth: Wukong cannot be overstated—I’ve also not seen a Chinese video game be this hugely popular on social media over the past decade. Beyond being a blockbuster game it is now widely regarded as an impactful Chinese pop cultural export that showcases Chinese culture, history, and traditions. Its massive success has made anything associated with it go viral—for example, a merchandise collaboration with Luckin Coffee sold out instantly.

If Black Myth: Wukong does indeed become part of the Spring Festival Gala, it will likely be one of the most talked-about and celebrated segments of the show. If it does not come on, which we would be a shame, we can still see a Black Myth performance at the pre-recorded Fujian Spring Festival Gala, which will air on January 29.

Lastly, if you’re not into video games and not that interested in watching the show, I still highly recommend that you check out the game’s music. You can find it on Spotify (link to album). It will also give you a sense of the unique beauty of Black Myth: Wukong that you might appreciate—I certainly do.

By Manya Koetse

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Chinese Movies

Why Chinese Hit Movie “Her Story” is ‘Good Stuff’: Stirring Controversy and Celebrating Female Perspectives

China’s end-of-year movie hit, Her Story, is sparking debates and highlighting the rising influence of Chinese female directors.

Published

2 months ago

December 7, 2024

Wendy Huang

The Chinese comedy-drama Her Story (好东西, literally “Good Stuff”), directed by Shao Yihui (邵艺辉), has been gaining attention and sparking discussions on Weibo since its late November release in mainland China.

The film features an all-star cast including Song Jia (宋佳), Zhong Chuxi (钟楚曦), Zeng Mumei (曾慕梅), Zhao Youting (赵又廷), and Zhang Yu (章宇). It tells a quirky yet heartfelt story about two women: Wang Tiemei (王铁梅), a self-reliant single mom juggling life and work, and Xiao Ye (小叶), a free-spirited young woman navigating her chaotic relationships.

Their friendship begins when Xiao Ye starts babysitting Tiemei’s nine-year-old daughter, Wang Moli (王茉莉). Xiao Ye introduces her drummer friend, Xiao Ma (小马), to teach Moli how to play the drums, but Xiao Ma’s presence stirs jealousy in Tiemei’s unemployed ex-husband, who schemes to regain his place in the family. Blending humor with poignant insights, the film explores themes of imperfect love, friendship, and the messy process of rebuilding lives.

(“Her Story” poster and the director Shao Yihui)

The film also addresses a range of hot societal issues through dialogues woven into everyday interactions, touching on topics like menstruation stigma, sexual consent, feminism, and how family dynamics can impact personal development.

In just eight days, Her Story surpassed 300 million RMB ($41 million) at the Chinese box office (#好东西票房破3亿#). Two days later, on December 2, it exceeded 400 million RMB (#好东西票房破4亿#), and on December 7 news came out that it had surpassed the 500 million RMB ($68.7 million) mark at the box office.

The film also achieved an impressive 9.1/10 rating on Douban, a Chinese platform similar to IMDb, making it the highest-rated domestic film on Douban in 2024.

(“Her Story” on Douban)

Notably, 65.4% of voters awarded it five stars, while only 0.5% gave it one star.

Conflicting Views: From Feminist Film to Chick Flick

Despite its huge success, it is almost unavoidable for a movie this big to come without controversy. The film sparked debate on Hupu (虎扑), a platform focused on sports and men’s lifestyle, where it received a lower score of 5/10. While 33.1% of users gave it five stars, 58.4% rated it one star, reflecting divided opinions.

(“Her Story” on Hupu)

Much of the criticism comes from male viewers who feel the film undermines men by portraying them in non-traditional ways and omitting proper names for male characters, such as referring to the ex-husband only as “the ex-husband” (前夫). On the other hand, many female viewers resonate with the film’s female-centered perspective, with one scene blending household sounds and Xiao Ye’s recordings praised as a standout cinematic moment of 2024.

Interestingly, not all women appreciated the film either. A Weibo user, identified as a female scriptwriter for two Chinese TV dramas, emphasized that most of the producers of the film are male. She accused the director of hypocrisy, claiming Shao accepts money and resources from privileged men to create films that encourage female audiences to look down on average men.

She wrote, “I hope that everyone who believes in the ‘ghg’ [girl help girl] myth and supports female idols will also congratulate the male producers who will earn a lot of money from the film.”

Zhou Liming (周黎明), one of China’s most influential film critics, noted two extreme perspectives in film reviews. Some critics label the film as a “boxer film” (拳师电影) or an “extreme feminist film.”

However, the film itself suggests otherwise, as reflected in Moli’s line, “I don’t want to box,” when her father tries to convince her to take up boxing. Some audiences interpreted the line as rejecting extreme feminist messages.

In China, the term “boxer” (拳师) is used to critique certain feminists. The second character in the word for feminists (“权” [quán] in 女权主义者) is pronounced the same as the first character in “boxer” (“拳” [quán] in 拳师). This term often mocks behaviors seen as overly aggressive or lacking nuance in feminist discourse, such as avoiding dialogue or oversimplifying social issues.

Some also dismissed the film as a “chick flick,” a casual term for romantic comedies, which Zhou argued unfairly minimizes its significance. He likened the film to Woody Allen’s Annie Hall, suggesting that, much like Allen’s work, Her Story transcends gender differences and reflects the cultural zeitgeist of its time.

Despite the controversy, the film has been praised by notable figures like actor Zhang Ruoyun (张若昀), who called it “super good, super awesome, and super cute” (“超级好、超级牛、超级可爱的东西”). Zhang described the movie as tackling absurd yet realistic issues from a female perspective with humor and depth.

The Increasing Influence of Female Directors in China

At the end of Her Story, Tiemei’s daughter, Moli, nervously prepares for her first drum performance. Despite her hesitation, she gathers her courage and steps on stage. This moment reminded some viewers of a similar scene in another female-directed film this year, YOLO (麻辣滚烫), where the protagonist gears up for a boxing match.

YOLO is a 2024 comedy-drama directed by Jia Ling (贾玲), starring Jia Ling and Lei Jiayin (雷佳音). A comedic adaptation of the Japanese film 100 Yen Love (2014), it tells the story of Du Leying (杜乐莹), a woman facing personal struggles who turns to boxing after meeting coach Hao Kun (昊坤). Through her journey, she finds a new direction in life after their breakup. Grossing USD 496 million worldwide, YOLO became the highest-grossing Chinese film of 2024.

These parallels between Her Story and YOLO highlight a broader trend: the growing prominence of female directors in Chinese cinema. Beyond the discussions of plot and central themes, Her Story reflects the increasing success and influence of women filmmakers in the industry.

In 2024, female directors have made a notable impact on Chinese cinema, with their films achieving both critical acclaim and box office success. Their works also spark conversations about the need for more diverse perspectives in the industry.

(“The Last Frenzy” poster and the director Wu Rina)

The Last Frenzy (末路狂花钱), directed by Wu Rina (乌日娜), premiered on May 1. This comedy follows Jia Youwei (贾有为), a man diagnosed with a terminal illness, who decides to sell his assets and live fully with his friends. Despite mixed reviews and a Douban score of 5.9, the film grossed over 700 million RMB ($96 million) by May 31, becoming a major box office hit.

(“Stand By Me” poster and the director Yin Ruoxin)

Stand By Me (野孩子, literally “Wild Kids”), directed by Yin Ruoxin (殷若昕), premiered on September 13. Starring Wang Junkai (王俊凯), it tells the story of two neglected children, Ma Liang (马亮) and Xuan Xuan (轩轩), who form a makeshift family while facing life’s challenges. With a Douban rating of 6.7, the film grossed 241 million RMB by October 9.

(“Like A Rolling Stone” poster and the director Yin Lichuan)

Like A Rolling Stone (出走的决心, literally “The Determination to Leave”), directed by Yin Lichuan (尹丽川), premiered the same week as Stand By Me. Inspired by Su Min (苏敏), a 50-year-old woman who embarked on a solo road trip, the film explores themes of self-discovery and the struggles of neglected women. Featuring Yong Mei (咏梅), the film earned praise for its authenticity, achieving a Douban score of 8.8 and grossing over 123 million RMB.

To the Wonder (我的阿勒泰, literally “My Altay”), a film-like TV drama directed by Teng Congcong (滕丛丛), adapts Li Juan’s (李娟) memoir. Starring Ma Yili (马伊琍), it tells the story of Li Wenxiu (李文秀), a young woman finding her place in her hometown of Altay after setbacks in the big city. Known for its poetic storytelling and portrayal of ethnic harmony, the series has a Douban score of 8.9 from over 300,000 ratings, ranking among the top dramas of 2024.

“An Era Where Women Are Being Seen”

The growing influence of female directors has sparked discussions about how women’s perspectives are challenging traditional storytelling.

Some Weibo users compared a scene from Her Story, where Tiemei scolds a man for urinating roadside, to a similar moments in YOLO. In YOLO, Hao Kun’s attempt to urinate roadside is humorously interrupted by car headlights. Such scenes highlight how female directors reinterpret everyday behaviors, inviting audiences to question societal norms.

Her Story has already been released in several countries, including the United States, Australia, Germany, and the United Kingdom, with more international releases to follow.

The success of Her Story, the conversations it inspires, and its contribution to highlighting female perspectives in film reflect the evolving dynamics of contemporary cinema and the strengthening of female voices in traditionally male-dominated industries.

On Weibo, many view this as a positive development. One commenter wrote:

“Her Story [好东西/”Good Stuff”] is truly ‘good stuff.’ (..) At the start of this year, I watched YOLO, and at the end of this year, I watched Her Story. Suddenly, I feel very grateful to live in this era—the era where women are gradually being ‘seen.’ Both films hold very special meaning for me. It feels like everything has come together perfectly. I hope to see more outstanding works from female directors in the future, and I look forward to an era where there’s no gender opposition, only mutual equality.”

By Wendy Huang
Follow @whatsonweibo

Edited for clarity by Manya Koetse

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