Guys, I Think Someone Posted An Negative Article On BTS On Their Google Page

Can you give me the link then I can check it out for you

Yes, I think so too. It’s blocked though, so I can’t see what’s it’s talking about.

It’s an idiotic article. Just saw it on Twitter.

It may not be negative it may just say the fans love BTS so much and Army is so big that no one can compare or compete

Quote from ArmyBlink0

website blocked but it should be here somewhere

https://www.google.com/search?…afe=active&ssui=on&surl=1

Here is the Articel for you if wanna read it btw is very stupid

About nine months ago, the phenomenally successful South Korean boy band BTS released “Dynamite,” their first-ever English-language single. Up until the moment that they announced “Dynamite,” the members of BTS had said that they didn’t plan to record in English. This made sense. They didn’t need to record in English. At the time, BTS represented a radical decentering of the global pop system: A leviathan-level success story in which the principal figures come from outside the anglophone pop system to capture the hearts of millions of people around the world. BTS weren’t simply huge in Korea or even Asia. They were (and are) huge everywhere, and their rise mirrored the trajectories of Spanish-language urbano stars like Bad Bunny and J Balvin. In America, BTS could sell out stadiums and land top-10 singles while only sprinkling occasional English into their records. They didn’t need to pull crossover moves. Instead, they brought everyone else into their world. Then they went ahead and pulled a crossover move anyway.

“Dynamite,” written and produced by British pop-industry professionals, is a perfectly OK example of sunshine-drenched, Bruno Marsian quasi-disco. The song is fine. It won’t hurt anyone’s feelings. BTS and their handlers delivered a piece of product designed to attract as many consumers as possible into their whole thing. They succeeded. “Dynamite” came out in August of 2020, and it promptly debuted at #1 on the Billboard Hot 100, becoming the first K-pop single ever to scale those heights. The song occupied that slot for three weeks. It got actual pop-radio airplay, something that had previously evaded BTS. It was a genuine smash. But then some funny things happened.

Since last September, BTS have notched up three more #1 hits. In October, members of the group jumped on “Savage Love (Laxed – Siren Beat),” a TikTok-driven hit from the young Australian producer Jawsh 685 and the fading American dance-pop singer Jason Derulo. That song, which has a complicated history of its own, was hanging out in the lower rungs of the top 10 for a while. When BTS showed up on the remix, the song went straight to #1. A couple of months after that, BTS released the breezy midtempo ballad “Life Goes On,” and that debuted at #1, too. In the process, it became the first Korean-language single ever to top the Hot 100. (“Gangnam Style,” which peaked at #2 in the period just before Billboard used YouTube streams to figure out the charts, got robbed.)

A week and a half ago, BTS released “Butter,” a song that sounds a whole hell of a lot like “Dynamite.” It’s their second English-language single. The entire creation of “Butter” feels oddly murky; one of the seven credited songwriters, for instance, is Columbia Records chairman Ron Perry, a man with no previous songwriting experience. The song has done what it was intended to do. “Butter” now sits at #1. According to Billboard, no group has cranked out their first four #1 singles this quickly since the Jackson 5 did it in 1970. (Justin Timberlake notched his first four chart-toppers even faster in 2006 and 2007, which is weird. Timberlake only ever reached #1 once as a member of *NSYNC, and none of the hits from his massively successful 2002 solo debut Justified made it to the top.)

Here’s the thing, though: “Butter” is not the most popular song in America right now. Billboard figures out its charts through some arcane combination of streaming, sales, and radio play. “Butter” made it to #1 almost entirely based on sales of discounted digital singles. “Butter” did get a lot of streams, but it didn’t get as much as any of the three most popular songs from Olivia Rodrigo’s debut album. At radio, the biggest song in America right now is “Leave The Door Open,” the retro-soul soul ballad from Bruno Mars and Anderson .Paak’s Silk Sonic project. There, “Butter” isn’t even a factor.

So “Butter,” like the big BTS hits that preceded it, sits at #1 right now mostly because BTS have effectively mobilized their tireless fan army. BTS sold downloads of “Butter” for 69 cents. They also sold an instrumental version and a remix. Those are 69 cents, too, and their sales count towards the chart fortunes of BTW. (There are also physical editions of the single, but those won’t count on the charts until they ship.) BTS fans are extremely plugged into the whole pop-chart thing, and they’re invested in helping the group get to #1 as many times as possible. If that means buying three different versions of the same song for 69 cents a pop, plenty of them are happy to do it. If you look at the charts, then, you’re going to get a completely distorted idea of how popular BTS actually are.

Record labels have always tried to juke the chart stats. Billboard has kept changing its tabulation methods in part because labels keep trying to use shady tactics to push their songs to #1. (At times, Billboard has allegedly been complicit in those tactics; witness the sordid saga of how Andy Gibb’s “Shadow Dancing” blocked Gerry Rafferty’s “Baker Street” from the #1 spot in 1978.) There have also been vast stretches where the Billboard charts haven’t been a useful metric in figuring out what’s actually popular. For most of the ’90s, for instance, record labels refused to sell singles, driving people to buy CD albums instead, while Billboard refused to count any songs on the charts that weren’t officially released as singles. Still, the Hot 100 is the best historic marker we have for what’s big at any specific time. In gaming the system, BTS are fucking that whole thing up.

It’s not just BTS. Thus far this year, 10 songs have made it to #1 on the Hot 100. Seven of those songs have debuted at #1. Last year, people like 6ix9ine and Travis Scott weaponized their self-aware fanbases to push unremarkable, unmemorable singles to #1, helped in part by scams like merch bundles. You could accuse Taylor Swift of something similar with the two #1 hits that she released in 2020. These days, it’s not just the artists and the record labels who are trying to game the charts. It’s the fans, too. Billboard has messed around with its rules a few times to keep things like that from happening, but the fans keep figuring out new ways to push not-that-popular songs to #1. A lot of the time, these songs plummet out of the top 10 almost immediately after getting their one week at #1. It feels like a broken system.

Now: BTS truly are a massively popular group. They’re big enough that their popularity has actually changed Korean laws. K-pop boy bands used to break up when the members of the group would have to report for compulsory military service, but thanks to a law passed in 2020, they can now delay their service until age 30. BTS keep appearing on American TV because people want to see them. “Dynamite” was a legit #1 hit — the kind of song I actually heard out in the world more than once. Maybe I’ll encounter “Butter” the same way, too, but I have my doubts. Instead, we’re dealing with a situation where everyone is working to inflate certain numbers and to affect the charts in that way. It’s almost like sports fandom, if you could actually will your team toward a championship by being louder and more obnoxious than anyone else in the arena, or by buying more jerseys than anyone else.

Look: It doesn’t ultimately matter how many times BTS get to #1 in America. The group has already proven to be hugely important to the history of pop music, and it’ll likely be years before we see how the ripple-effects of their popularity have changed the world. But it’s frustrating to see a phenomenon like this inflating the stats, obliterating any sense of accuracy in how we keep these records. I’m writing both a column and a book about #1 singles, so I have a vested professional interest in these charts not getting completely fucked up. But even as a fan, a passive observer, it’s not a fun thing to watch. Organic popularity, once the driving force behind pop music, barely feels like it exists anymore. Instead, the pop charts are turning into a battlefield for warring stan armies.

There’s no real answer for this. If Billboard changed its rules again, then fanbases would just change their approach toward pushing songs toward the charts. Stan culture has made it so that we feel like we’re winning if our favorite artists are winning; you see the same thing reflected in, say, all the people on Twitter who jump to Elon Musk’s defense whenever anyone points out that that guy has too much money. That means the fuckery on the Billboard charts is merely a symptom of a larger societal fuckery. But it’s still fuckery.

I read the entire thing like, "who gives a shit, it's not that serious", then the author tipped their hand by saying they're writing a book about number 1 singles.

I guess they give a shit.

How sad for them, I guess.

I'm just gonna copy and paste

It's long so good luck ArmyBlinkOnce0

Nothing funnier than seeing western stans crying about BTS destroying their charts.

Also I take particular umbrage to this nonsense:

"Organic popularity, once the driving force behind pop music, barely feels like it exists anymore. Instead, the pop charts are turning into a battlefield for warring stan armies."

When was "organic popularity" the driving force behind pop music? Like, what a strange fucking coincidence that pretty much every number one ever has emerged from the same handful of of very wealthy companies, totally fucking shocking that such a thing would happen in such a meritrocracy.

Also the idea that labels stopped selling singles in the 90's is... Bullshit? Like, just, total nonsense? How old is the person that wrote this?

seems like they are really shaken by bts.

i want an agenda for bts to do another comeback this 2021 and get a fifth #1 i tell you.

Quote from ArmyBlink0

You both are giving me different signals.

are you able to view mega.nz links?

Quote from ArmyBlink0

Read it, yeah lets ignore Butter's popularity, staying #1 trending on U.S youtube, and act like western fandoms don't do mass streaming and mass buying.

nvm then you already read it -- I was 'boutta give you the html document

tl;dr.

The Hot 100 no longer depicts the most popular songs of the week. But it's not on BTS; they're playing by the rules. It's on Billboard for not reforming it. So, ¯\_(ツ)_/¯.

the fuckery the fuckery of it all someone must save us from all the chart fuckery

Quote from icyruios

Random thought, the record for the most number of No.1s is The Beatles having 20, followed by Mariah Carey at 19

BTS had 2 No.1s in 2020, and 1 in 2021 so far. Assuming they will have another this year, and with this trend have 2 No.1s every year, will they be able to catch up with The Beatles and Mariah Carey after 8 - 9 more years and tie or maybe even have more No.1s than them?

They technically had 3 number 1 last year

Quote from icyruios

Do we count Savage Love? I mean technically the remix helped but I don't know if we could count that

Well, they are technically credited on their week at number 1, but I get that this is a grey area

Quote from possiblymaybe

the fuckery the fuckery of it all someone must save us from all the chart fuckery

Someone must protect the sanctity of the holy charts!

Going to be funny watching people get triggered by this

Though I do see what their saying, just because a song is number 1 doesn't mean it's the most popular song and that is down to billboard and the way they calculate things

Quote from merribelle

It may not be negative it may just say the fans love BTS so much and Army is so big that no one can compare or compete

It is negative (and extremely US centric)

https://mobile.twitter.com/ste…tatus/1400111686917427204

And they brought up the discounted single, which has been done by many artists, and the remix, which was released after the first tracking week ended

People constantly talk about the charts no longer reflecting what's popular and what people listen to, when the vast majority of people in the world have no idea what's currently charting in the first place.

Quote from i9son

Here is the Articel for you if wanna read it btw is very stupid

About nine months ago, the phenomenally successful South Korean boy band BTS released “Dynamite,” their first-ever English-language single. Up until the moment that they announced “Dynamite,” the members of BTS had said that they didn’t plan to record in English. This made sense. They didn’t need to record in English. At the time, BTS represented a radical decentering of the global pop system: A leviathan-level success story in which the principal figures come from outside the anglophone pop system to capture the hearts of millions of people around the world. BTS weren’t simply huge in Korea or even Asia. They were (and are) huge everywhere, and their rise mirrored the trajectories of Spanish-language urbano stars like Bad Bunny and J Balvin. In America, BTS could sell out stadiums and land top-10 singles while only sprinkling occasional English into their records. They didn’t need to pull crossover moves. Instead, they brought everyone else into their world. Then they went ahead and pulled a crossover move anyway.

“Dynamite,” written and produced by British pop-industry professionals, is a perfectly OK example of sunshine-drenched, Bruno Marsian quasi-disco. The song is fine. It won’t hurt anyone’s feelings. BTS and their handlers delivered a piece of product designed to attract as many consumers as possible into their whole thing. They succeeded. “Dynamite” came out in August of 2020, and it promptly debuted at #1 on the Billboard Hot 100, becoming the first K-pop single ever to scale those heights. The song occupied that slot for three weeks. It got actual pop-radio airplay, something that had previously evaded BTS. It was a genuine smash. But then some funny things happened.

Since last September, BTS have notched up three more #1 hits. In October, members of the group jumped on “Savage Love (Laxed – Siren Beat),” a TikTok-driven hit from the young Australian producer Jawsh 685 and the fading American dance-pop singer Jason Derulo. That song, which has a complicated history of its own, was hanging out in the lower rungs of the top 10 for a while. When BTS showed up on the remix, the song went straight to #1. A couple of months after that, BTS released the breezy midtempo ballad “Life Goes On,” and that debuted at #1, too. In the process, it became the first Korean-language single ever to top the Hot 100. (“Gangnam Style,” which peaked at #2 in the period just before Billboard used YouTube streams to figure out the charts, got robbed.)

A week and a half ago, BTS released “Butter,” a song that sounds a whole hell of a lot like “Dynamite.” It’s their second English-language single. The entire creation of “Butter” feels oddly murky; one of the seven credited songwriters, for instance, is Columbia Records chairman Ron Perry, a man with no previous songwriting experience. The song has done what it was intended to do. “Butter” now sits at #1. According to Billboard, no group has cranked out their first four #1 singles this quickly since the Jackson 5 did it in 1970. (Justin Timberlake notched his first four chart-toppers even faster in 2006 and 2007, which is weird. Timberlake only ever reached #1 once as a member of *NSYNC, and none of the hits from his massively successful 2002 solo debut Justified made it to the top.)

Here’s the thing, though: “Butter” is not the most popular song in America right now. Billboard figures out its charts through some arcane combination of streaming, sales, and radio play. “Butter” made it to #1 almost entirely based on sales of discounted digital singles. “Butter” did get a lot of streams, but it didn’t get as much as any of the three most popular songs from Olivia Rodrigo’s debut album. At radio, the biggest song in America right now is “Leave The Door Open,” the retro-soul soul ballad from Bruno Mars and Anderson .Paak’s Silk Sonic project. There, “Butter” isn’t even a factor.

So “Butter,” like the big BTS hits that preceded it, sits at #1 right now mostly because BTS have effectively mobilized their tireless fan army. BTS sold downloads of “Butter” for 69 cents. They also sold an instrumental version and a remix. Those are 69 cents, too, and their sales count towards the chart fortunes of BTW. (There are also physical editions of the single, but those won’t count on the charts until they ship.) BTS fans are extremely plugged into the whole pop-chart thing, and they’re invested in helping the group get to #1 as many times as possible. If that means buying three different versions of the same song for 69 cents a pop, plenty of them are happy to do it. If you look at the charts, then, you’re going to get a completely distorted idea of how popular BTS actually are.

Record labels have always tried to juke the chart stats. Billboard has kept changing its tabulation methods in part because labels keep trying to use shady tactics to push their songs to #1. (At times, Billboard has allegedly been complicit in those tactics; witness the sordid saga of how Andy Gibb’s “Shadow Dancing” blocked Gerry Rafferty’s “Baker Street” from the #1 spot in 1978.) There have also been vast stretches where the Billboard charts haven’t been a useful metric in figuring out what’s actually popular. For most of the ’90s, for instance, record labels refused to sell singles, driving people to buy CD albums instead, while Billboard refused to count any songs on the charts that weren’t officially released as singles. Still, the Hot 100 is the best historic marker we have for what’s big at any specific time. In gaming the system, BTS are fucking that whole thing up.

It’s not just BTS. Thus far this year, 10 songs have made it to #1 on the Hot 100. Seven of those songs have debuted at #1. Last year, people like 6ix9ine and Travis Scott weaponized their self-aware fanbases to push unremarkable, unmemorable singles to #1, helped in part by scams like merch bundles. You could accuse Taylor Swift of something similar with the two #1 hits that she released in 2020. These days, it’s not just the artists and the record labels who are trying to game the charts. It’s the fans, too. Billboard has messed around with its rules a few times to keep things like that from happening, but the fans keep figuring out new ways to push not-that-popular songs to #1. A lot of the time, these songs plummet out of the top 10 almost immediately after getting their one week at #1. It feels like a broken system.

Now: BTS truly are a massively popular group. They’re big enough that their popularity has actually changed Korean laws. K-pop boy bands used to break up when the members of the group would have to report for compulsory military service, but thanks to a law passed in 2020, they can now delay their service until age 30. BTS keep appearing on American TV because people want to see them. “Dynamite” was a legit #1 hit — the kind of song I actually heard out in the world more than once. Maybe I’ll encounter “Butter” the same way, too, but I have my doubts. Instead, we’re dealing with a situation where everyone is working to inflate certain numbers and to affect the charts in that way. It’s almost like sports fandom, if you could actually will your team toward a championship by being louder and more obnoxious than anyone else in the arena, or by buying more jerseys than anyone else.

Look: It doesn’t ultimately matter how many times BTS get to #1 in America. The group has already proven to be hugely important to the history of pop music, and it’ll likely be years before we see how the ripple-effects of their popularity have changed the world. But it’s frustrating to see a phenomenon like this inflating the stats, obliterating any sense of accuracy in how we keep these records. I’m writing both a column and a book about #1 singles, so I have a vested professional interest in these charts not getting completely fucked up. But even as a fan, a passive observer, it’s not a fun thing to watch. Organic popularity, once the driving force behind pop music, barely feels like it exists anymore. Instead, the pop charts are turning into a battlefield for warring stan armies.

There’s no real answer for this. If Billboard changed its rules again, then fanbases would just change their approach toward pushing songs toward the charts. Stan culture has made it so that we feel like we’re winning if our favorite artists are winning; you see the same thing reflected in, say, all the people on Twitter who jump to Elon Musk’s defense whenever anyone points out that that guy has too much money. That means the fuckery on the Billboard charts is merely a symptom of a larger societal fuckery. But it’s still fuckery.

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How is Jason Derulo fading? He has a lot of popular songs lmao

Expect more articles like this to pop up rapidly.

BTS is shaking up the industry and it's not going to be without kicking and screaming about their precious, already corrupt system that they wont address.

But an outsider succeeding? Time to truly inspect the charts and whine about it and write several think pieces.

I posted the article on a music community and the first reply:

pasted-from-clipboard.png

Billboard has been an inaccurate portrayal of what's popular in the US for ages but of course people want to focus on this only after bts destroys their charts.

We've been complaining for so long about bundles and radio play counting for too much on the charts but no one cared, even now people want to go after sales, which show what people are consuming more accurately than radio ever will just because army and bts know how to use them to their advantage.

People can still pay for radio and game the charts with no issue. Even streams aren't legit nowadays since people can pay for top notch playlisting to get passive streams. Yet you'll never see articles calling out artists who blatantly use these tactics and have been using them for their entire careers.

Even bts remixes got multiple articles and think pieces as if every artist and their grandma have never used them before. It's so obvious what's going on.

I'm really tired of all this selective outrage by western media and stans.

Another one BTS made irrelevant for ARMYs list:

Charting 4 #1s in BB Hot 100 in less than a year

Quote from nahadoth

Billboard has been an inaccurate portrayal of what's popular in the US for ages but of course people want to focus on this only after bts destroys their charts.

We've been complaining for so long about bundles and radio play counting for too much on the charts but no one cared, even now people want to go after sales, which show what people are consuming more accurately than radio ever will just because army and bts know how to use them to their advantage.

People can still pay for radio and game the charts with no issue. Even streams aren't legit nowadays since people can pay for top notch playlisting to get passive streams. Yet you'll never see articles calling out artists who blatantly use these tactics and have been using them for their entire careers.

Even bts remixes got multiple articles and think pieces as if every artist and their grandma have never used them before. It's so obvious what's going on.

I'm really tired of all this selective outrage by western media and stans.

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When corporations decide for everyone what should be popular, that is ok.

When Little Monsters were literally on the internet offering strangers blowjobs if they would purchase ArtPop on iTunes, that just shows the immense POWER of Lady Gaga, a cultural behemoth of no equal.

But ordinary people propelling a group that wasn't cultivated from within the western corporate system to massive international success by... buying their music? SUDDENLY IT'S A PROBLEM.

People just don't want to see a foreign act succeed in their country. Especially an Asian, non-English speaking one. Nothing else.