Posts by stan12345

    NMIXX at this point should just commit to the concept more.


    95% of their musical content is not "MIXXPOP". They spend most of their time doing normal song covers and outside of 2 title tracks their two b-sides are not MIXXPOP either.


    Everytime they do something they are so many comments about how they should change their style and I feel like that stems from that fact that so much of what they do is not mixxpop and people see how much better it is. Hence has people questioning hat on earth are JYPE doing with this group.


    If they are going to constantly put out covers they should find an inventive way to mash 2/3 classic songs together to show how they can make the concept sound good. Rather than doing normal song covers that just accentuates how much the title tracks are missing for some.


    I find their entire approach to the group odd.

    Im also curious about how JYPE will actually do from now on forward.


    They are losing the good gg run they had and it is almost like so many other companies can chart better than them in korea


    wonder with their obsession with western market they will soon start to abandon korean market all together

    Their strategy is globalisation by localisation and really they're making more than ever. I don't think they'll abandon the South Korea market anytime soon, look at how much domestic promotion NMIXX are doing for example and Itzy also did (Twice also). They'll have specialist groups for each key market (Nizi in Japan, new US girl group next year) and then have their Korean based groups do a bit of everything without stepping on the toes of their local groups. Inherent conflict of interest? Probably.


    But it's a conveyor belt of groups at JYPE these days.


    Domestic streaming doesn't bring much money in for them.


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    I'm not sure why people are trying to conflate other music markets to that of kpop.


    There's a reason labels push physicals an incredible amount in the kpop landscape, it makes them a lot of money.


    Large tours will be the end goal but it takes time to get to a point where touring makes more money then other activities. You can exploit album sales through gimmicks with a smaller fandom.


    JYPE


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    SM


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    Hybe


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    Didn't she have a brand in the Philippines before this?


    And I wonder if she is getting paid for this, as this is the brand her make-up artist just launched so wouldn't be surprised if it's more of a favour for a friend.

    Itzy came out at the start of 2019 and Stray Kids also started releasing at a quicker rate so 2019 was Twice's transition to more touring.


    It's just not possible to keep up with the rate Twice were going at.


    They hit 9 numbers ones between April 16 - Nov 18, around 2.5 years? Sistar got their 9 over a 6 year period. I doubt there's too many examples globally of an artist being that prolific over such a short amount of time as it's not normal in terms of volume for a reason.

    I think back then it might have been easier to judge impact then now.


    I always think that for Twice, there is a favourtism to their earliest 3 tracks that brought them to fame. Down the road, since they were already so big, so no matter how well the songs perform they dont feel 'as big'.


    So from 2017 onwards the songs were already on the losing end of the stick if we compare them to their earlier songs

    I don't disagree - it was further impacted by the volume of music they put out as well.


    2017 was also the start of a crazy amount of output and from then on in their comebacks lost some spark and legs. People had a new Twice track to listen to every few months, which does essentially devalue a product as Twice title tracks basically became substitute goods of one another and they were massively overexposed.


    JYPE barely ever tried to push their b-sides as their title tracks were coming out at such a quick rate which gave them the image of a one-trick pony.


    There was a balance to be found but JYPE never managed to find it and the state of the company at the time meant they just took the easiest route to short-term gains, which was having Twice pump out content at a crazy rate with a safe sound.


    I'll always standby that their earlier management is what cost them real longevity in South Korea with their music.

    I think dtna is bigger than TT


    YOY vs LOA for top 5

    It looks like that due to longevity but as a summer song it will always have that advantage. TT's peak was huge and subsequently its impact was as well. It was after TT that Twice got given the NGG moniker consistently by media outlets.


    LoA for me is an example of something I tend to always bring up when I look at the size/impact of a hit - deviation from the mean hit/popularity of a group. LoA didn't start well on the charts and Twice didn't debut with much pomp, it fell to like the 90s on Melon at one point soon after debut. So for it to then become a sleeper hit and spend 7/8 weeks in the top 10 after needing 3 months to get there means something big had to have happened. Not only was the song bringing in new listeners over 3 months but it was also retaining them at a good rate.

    I think we came to that conclusion a while back when comparing the two top ggs- that it is difficult to compare the two based on all the different stats alone in korea


    I think massive hasnt really been active for a while on this thread but lets try pinging


    MassiveKpopFan

    I know we understand that here, but outside of this thread it doesn't stop people undermining Twice's career digitally in South Korea so I felt the need to make the comment for passerbys of this thread.


    As a stat Gaon digital points misses out 4 of Twice's 5 biggest hits in South Korea, including their biggest. Seeing some people judge Twice's overall career in SK using it and talking about how easily they got surpassed with less songs just hits on one of my biggest pet hates in kpop when it come to discussion on stats - the lack of contextualisation.

    Gaon points for Twice miss out more than half of their biggest hits in South Korea so it takes into account their decline digitally but not their peak. As useful as a metric it can be now, using it as an all-encompassing metric when comparing 3rd gen groups careers doesn't make sense to me.



    Also did no-one know the answer to the Butter in Vietnam question? Where's Massivekpop when you need them.

    An idol or two are mixed in


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    From BP's debut Onces were constantly shitting on BP's physicals and charting. Suddenly when BP surpassed them in some things they became holier than thou to receive similar treatment.
    It's not rewriting history. Just looking at old forums from 2016 and 2017 will give enough of a picture.

    You were not the only one there from the start - BP's first physical release was in 2018 and they had their debut with a PAK on the charts. The Twice/BP arguments did not start from physicals and digitals, they had started before BP even had their official debut. There is no "started it first" no matter how much you want to push this narrative.