one homeless person calling another homeless person a broke ass loser.
Posts by quantumphysics
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There is one thing that'll never make sense to me regarding bg stats. Rarely is the streaming/charting in Korea or international is proportional to their album sales. The fandom power is not shown in music consumption. Only few bgs have both. U don't need gp to show consumption.
Just look at some trot singers and see their streams on Korean platforms. Its huge and fandom driven. Even izone was a fandom driven group and show consumption.
These bgs don't have great international streaming or charting stats either for claiming to have international fanbase.
Previous generation boy groups showed consumption too. These newer ones' don't make sense to me. Even when the charts were lesser stricter you could see the fandom movement. The fans were there and it showed. But now it seems that the fans are there...but they are also not there.
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I agree with what they said though. Newer groups focused on international market's performance on Billboard global and excl. global formed the basis of my statement when I said the global audience isn't interested in kpop as a genre but only a certain few acts.
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4th gen boygroups are making more unconventional & experimental music so i understand why korean gp is not interested in them, but even groups that make songs that are gp friendly or favorable to much wider demographic (not just teen) are flopping in korea soi guess koreans are generally not interested in kpop music not checking them out.
Experimental is a way to phrase it I guess. And you are right the people have just lost interest in idol music altogether. This year we are seeing a rise of older songs in fact and even with that right now the charts are dominated by just the same big acts who always dominate.
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Lol sis both Big4 and nugu companies groups hardwork equally. It's just the difference of Marketing.
https://sites.lsa.umich.edu/in…ing-Privilege-FINAL-2.pdf
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It sure feels like it's too soon to press the panic button. Yes, it's the lowest debut of the series, but reading the stories, it doesn't feel like this was ever really a blockbuster show in ratings, despite what we may think in kpopland, considering the other two versions started off at 0.5%, and this one started at 0.3%, based on what I read in articles. (I'd be interested how many watch it online though, if it mirrors teenage behavior in the US who don't watch things on TV.)
If you can sell millions of albums and sell out concert tours without the GP's "awareness", do you really need it? Are we all looking at an outdated model in what we consider success? Streaming adds to the nichefication of the entire music industry, not just kpop, as does the proliferation of digital content - you are not forced to just watch or listen to one thing or the same song or TV show multiple times, but rather can choose to curate your content. Because people are choosing what they want to listen to, that mass media becomes less important. They don't play HER on the radio stations and I don't need them to because I don't listen to those radio stations.
I'd also go back to a point I keep making about music - people can be successful without GP recognition. In looking at the U.S., The Weeknd had the top album of the year, played the Super Bowl halftime show, had a song that was utterly unavoidable, and yet Twitter was full of GP asking who he was. Dude made a hell of a lot of money without some random boomer recognizing him, yet most people my age know exactly who he is. Stop worrying about what the GP thinks - they recognize very little in who is the hot artist right now in any country...
As for fandoms, I'll never understand why fandoms being an artist's key support are seen as such a bad thing in kpop. In Western music, there are many many many artists being carried to lucrative success by their fandoms. From Taylor Swift to Beyonce, to older acts like U2 and the Rolling Stones, their fandoms carry the bulk of their success and drive the largest portion of their business. That said, just as the industry is changing, so are fandoms. It seems like 4th gen fandoms are much less interested in powering their group up the charts - which is fine, they are still interested in purchasing their products, going to their tours and watching and interacting with their social content. Again, this I think reflects a shift in priorities. They don't care if they chart, they care about the album and seeing their faves and what's new on social. I totally get it. And that's fine - again, the industry is changing..
Thanks for such a well put answer.
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What you are saying is true but I am talking about relevancy not revenue. Not to say revenue is not important. In fact in this streaming age that's the most important thing. But as someone who likes to observe the charts to me it seems that the music industry as whole is in a weird phase: sales are dying and while for idol music it is indeed on rise there is no guarantee it will last for long. So the future generation's performance becomes more important, or exactly in which field they are performing. If fandoms are the alternative to a streaming focused market then it's important to observe how they behave and to what extent their influence extends. Are they able to influence charting on an impressionable level or if they behave in a more traditional manner.
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I expect every artist, girl group/boygroup/soloist/non idols/non korean celebrities to have a considerable amount of music consumption to be called successful. Getting into the nuances now, an idol moves in a certain, has certain types of fans and therefore a certain type of music consumption. For a girl group, I expect good digitals and decent amount of sales meanwhile for boy groups I expect high physicals and decent digitals. Having one factor totally absent is not it. You have to have some chart presence if you have high physical consumption. At least it should show that there are some people who are listening to you.
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Both have their appeal. Some groups are intentioned at the overseas market. For them overseas success is important but their companies should keep in mind how big of a gamble that is. Touring is a big question mark these days and physicals in the west are dying. Streaming is a different world altogether.
Domestic success on the other hand can guarantee high physicals at least. According to this year's IFPI report asian market has seen a rise in physicals (although Japan went down a bit because they are gradually moving towards streaming). Domestically there is a better hope for touring too at the moment. So right now, during the time of COVID, I would aim for substantial amount of domestic success rather than running towards overseas market where there is instability and uncertainty.
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So I saw some articles about the latest Kingdom episodes and how the ratings were not favorable. Something about it getting lower ratings than RTK. (Although some defenders said that TV ratings mean nothing since the show is directed towards teenagers)
Looking at the 4th generation boygroups' digital performance, it's obvious they are doing bad. I'll go as far as to say people are not listening to them at all.
I think some factors are responsible for this:
1. Oversaturation of the market.
2. The push towards the international market and hence the musical direction, thus alienating the domestic market. We rarely see these idol groups promoting on variety shows and other promotions too. But kpop's growth on the global scale is very limited to certain few groups indicating that the global market is not open to kpop as a genre but certain few acts.
My question is, do you think if the boy groups change their sound (all collectively) they have a better chance at gaining more recognition or is it too hopeless?
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Hallyu wave was on the verge of being called dead yes. SNSD and TVXQ were big during their peak and digitally I'd argue SNSD are still bigger than BP in korea but the difference between streaming and download era has to be taken in consideration. Going by the Gallup report across multiple years, BTS has been more consistent and peaking higher than SNSD who previously were the biggest idol group.
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Still honest opinions. Baekhyun>>>>>
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They need a hit song. A top 10, multiple weeks on the chart type hit. But it's okay to be a fandom artist. That's what most kpop boy groups are. They will have good physicals and touring.
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You are so stupid I wonder how easily you get taken advantage of in your real life. Thousands auditioned and got selected so what? It's what comes after. Everyone in this world struggled. You and I do too. Some are more privileged than others. Makes me wonder if you are white or live a sheltered a life.
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Not really my thing as i prefer vocal + rap
I find that V's husky deep voice, jungkok's soothing voice and jimin's high pitch voice add flavor to their songs. The rappers with different style of rap make the songs more interesting.
My favourite by them would be Save Me, I need you, run, fire, war of hormones, danger, N.O., no more dream
Those songs are all promoted title tracks and from their very older era hmm. Do you like Korean hip hop (Epik High, Zico, Wonstein, Simon Dominic etc.) or do you stay in idol music only?
