Posts by TPHF

    The last two days Magnetic basically has had the exact same amount of uls as Fate had a week ago. If it's the same case tomorrow then it will peak around 385k uls. Would then finally have reached the point that several songs have been able to come close to matching Love Wins All's peak uls. As already pointed out by others Magnetic should still have 1 or 2 weeks left of week to week uls gains, so 400k uls next week should be possible, though it might also plateau a bit ealier than expected as has happened to several other hit songs this year.

    Love Wins All in the meantime reached 1 on Melon's yearly cumulative uls chart. The closest competitor for it right now is Plot Twist. Plot Twist's stability still very strong. Since it reached above 300k uls 6 weeks ago, it has gone down by only about 10k uls. About a 2.7m uls gap between Plot Twist and LWA on the yearly chart, and the daily gap is around 50-60k uls. With the current difference it would then take about 50 days for Plot Twist to catch up, but of course the gap likely won't stay that big for that long. Don't know if anyone here knows this, but which idol boygroups have ever managed to top Melon's year-end chart?

    Hadn't really realized that Super Shy stayed #1 on Circle's digital chart for that long and that Seven was in the top 10 for 23 weeks. Considering that a lot of songs released since June/July 2023 haven't shown the greatest longjevity, Seven seems to have been a bit of an outlier.

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    Came across an article that shared a little bit of info about Melon's Music Wave function that they launched last year. The article mentioned that the Music Wave channels for IU, Seventeen, and NCT 127 attracted respectively 74k, 18k, and 16k fans. Kinda sounded like a significant amount to me.

    Some more info about Music Wave directly from the article:

    "Music Wave is a music service launched by Kakao Entertainment's Melon in July last year. For example, if you go to a channel with various topics such as 'Work songs you must listen to when working', 'Increasing travel tension', and '4th generation female idol competition', multiple people can chat while listening to the music being played in real time."

    유튜브뮤직 빈틈 공략…수천 명 팬 몰리는 멜론 뮤직웨이브
    지난달 27일 음원 플랫폼 멜론의 뮤직웨이브(Music Wave)에 아이돌그룹 '더보이즈'의 팬들이 수천 명 몰렸다. 더보이즈 멤버들과 함께 음악 감상을 하면서 초성 게임을 할 수 있다는 이유에서였다. 지난달 25일

    It's funny when I searched for info about this again that Google placed an akp thread from back in the day at the top of the search results. Our perceptions really change when time passes by.

    The thread did remind me of the fact that a section of bighit/hybe shareholders such as Korea's National Pension Fund were firmly against bighit becoming independent. Without the independent label investors might be able to pressure hybe into giving them more specific info about BTS related stuff that they do not like to share. Hybe might not have total control over bighit, but more importantly the independence status guards bighit and its artists from the demands and priorities of hybe's shareholders.

    the mentioned thread: Big Hit Music has been successfully hived out as an independent private subsidiary of Hybe despite shareholder opposition

    Gidle's album is very close to surpassing IU's album daily cumulative uls gains on Melon. About a 5k difference between the total gains. IU has a significant advantage build up but some of the b-sides have dropped a lot so Gidle could catch up quite a bit if their songs have decent stability.

    so what are the chances for next weeks h100? most of the beyonce songs fell below magnetic in the US spotify chart. on day 4 of this new tracking week magnetic has 230k more US spotify streams total compared to the first 4 days of last tracking week

    J Cole released a 12 track album which will do big numbers on Apple Music so it probably will be a repeat of last week. if Magnetic's US youtube numbers are strong enough then it might have a shot at just making it.

    How high will Cherry Blossom Ending get this year :pepe-narrow-eyes:

    Already reached its peak yesterday and has started to drop now. It's always two days a year that it gets the big boost when the cherry blossom are in full blossom in Korea and then it drops again. Last year it peaked at 21 while this year it peaked at 22 on Melon daily

    Saw that Magnetic is charting at now with 400k streams on Spotify japan now. I can only remember Jungkook and BTS songs achieving that. Not sure how it's doing on the domestic music services in Japan but on Apple Music it's still doing great. I don't think they've done any promo in Japan which makes these numbers even more crazy to me.

    I wonder what's the "official" definition of conglomerate

    As of now any korean company that reaches above 5 trillion Korean Won in assets gets automatically labeled as a conglomerate by the FTC. They were planning to change the criteria (which hybe wouldn't match) but it's still not enacted.

    Hybe will now be obliged to disclose more company stuff like who are the major shareholders (some speculate also more info about artist's contracts) and limit the amount of internal transactions. But as it's the first Korean entertainment company to ever be labeled a conglomerate a lot is still unknown what exactly the FTC will demand of hybe.

    Magnetic taking the 1 on the top100 all day has really caused Fate to lose quite a lot of uls. Magnetic probably will be 1 on Melon daily tomorrow. Bit of a weird week with all of the election stuff in Korea so don't think Magnetic can come anywhere close to 400k uls for now. Maybe next week depending on how much momentum it still has left then.

    Two noteworthy songs have dropped out or a close to dropping out of Melon daily top100. Butter just left the top 100 after quite a sudden drop in uls today and Attention would be out of the top100 based on uls but downloads are keeping it at 99 for now.

    Nothing is NJs 2024 plan makes sense except pushing back the full album in the last semester of 2024 :eyes:.

    This is also in response to your previous post, but the fact that ador has received independence status by hybe should mean that it is in the position to make these kinds of decisions on its own accord. Hybe only would set goals that ador has to reach, but how they reach these goals will be up to ador (sponsored ad songs will help for example when there is no new album or tour yet). A more interesting perspective to me is the fact that Min Heejin received a 20% share in ador recently from hybe for "greater motivation". Not sure what that entails but just like in her SM days she might be overworked. She had to work on V's album as well. Everything about newjeans relies on MHJ and she has to run the whole label at the same time as well, which to me offers a better starting point to explain the long time between their albums than assumptions made about hybe's input

    Also just saw this tweet which shows why it's more in hybe's interest for NewJeans to release way more stuff this year than delay it to next year. Hybe gets its most important act back in 2025 afterall.

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    Each thing I see of this comeback (?) just makes it more messy. So the b side of the korean single is not even going to be in full Korean, that probably is gonna kill their charting there. They announced it as a Korean single though so this is quite funny, I guess How Sweet will be a proper Korean song and will be the main focus of the single but everything is so confusing. Also, the b side of the japanese single is supposed to be released as a Korean cf next month, same situation as Bubble gum, so will it be in Korean too? Are they even a Korean and a Japanese comeback/debut when both singles will have both languages? It's a mess lmao.

    At this point my problem with all this is not (just) that idk what to expect, but that I can't find anything positive about all this. The messy release is definitely not going to help their charting anywhere and if it ends up being succesful it's more because it's NJ and because people will like the songs and not because of the promotion. Also from a fandom point of view idk how I'd feel about having a 1 min video of the new song and have to wait almost 2 months for it now.

    Imo it's a way to debut in Japan + giving some more content before the full album that they'll release probably at the end of the year and will be their main comeback, and they didn't want to make it seem like they were going to spend smth like 15-16 months without releasing anything relevant in Korea so they're doing this. They've already achieved basically everything that could be achieved in Korea, but to move from what I might consider the most dominant year I remember from basically any artist to this weird drought and promo is a really radical change.

    I would argue that this year was the time for them to go full out with the U.S. promos and see how far they can go there. Just made sense for them do that after the success of their last comebacks there. It's like if BTS after DNA wouldn't do a korean comeback for more than a year and instead would do the types of releases newjeans is about to do.

    Japan releases can be enjoyable but labels normally don't allocate months for it and I also don't think it needs that. I've also noticed that there is some sentiment lately among korean fandoms of other groups that they don't like that Japan is getting more attention over them. It's a touchy subject but I think companies have to navigate it more carefully to not risk alienating large sections of an artist's korean fandom. Some will say japanese songs are actually doing great lately in Korea, but those are songs from Japanese artists, often supported by anime. Japanese songs by Korean artist generally don't do anything in Korea, and also don't really do well in Japan. Japanese kpop releases are just another opportunity for companies to sell albums in Japan. Don't believe they gain much extra fans from it like they do with regular korean comebacks.

    Also would add that releasing so many ad songs can hurt the image of an artist. Bit ironic considering I always hear Min Heejin professing about authenticity. Like if I stan an artist I don't think I want their music to be continuously be associated with companies and brands. That makes the music feel less special, or as MHJ would say, authentic. I guess these companies must be offering crazy pay for it, because I don't see the point otherwise when their label already has the backing of hybe money.

    So the first double single newjeans will release seem each to include english, korean and japanese lyrics. That clears up why their comeback notice was so confusing to me. Not sure what exactly the rules are about that but I think we don't really have to consider both of their double singles for the korean charts. The first two are going to be ad songs anyway.

    I've seen some weird moves by kpop companies but this one is new to me lol. Feels like a very strange japan debut for them. I also was kinda curious to see how newjeans would perform on the charts after the debuts of all these other new trendy groups, but I guess we'll have to wait until they release a korean album at the end of this year.

    Was Melon able to stop the exodus somehow? I wonder what is their strategy to keep users when Youtube Music offers much more.

    Their strategy is to copy youtube music and spotify and introduce more ai stuff. Since last year Melon for example also has a shorts function.

    Youtube Music also introduced the first price increase for their subs in years recently. iirc sub prices went up by almost 50% so that might have slowed down its growth and helped Melon a bit.

    I am pretty sure its the Hybe sub-label probably paying for the playlisting which gets them on TTH, cause I doubt Geffen would put a newbie like Newjeans on TTH otherwise who had no proven charting history and who was no different to Geffen from a LSFM which had debuted a few months prior but did not get same playlisting. Newjeans anomalous playlisting on TTH from debut tells me all I need to know about how TTH works. Cause why would Geffen discriminate between a LSFM or a Newjeans otherwise? Or not give playlisting on TTH to an already established Hybe act like TXT which also has decent streams.

    But that's my problem with this rational that anyone can just easily pay their way onto big spotify playlists. If they can do it for one group why not do it for others that they clearly care as much about?

    Bang pd was for example obsessing about that english txt collab reaching the hot100 which it failed to do because it did not get any spotify support at all.

    So what is it then that makes the newjeans case special? Does Min Heejin have better relationships than the other people at hybe? Does hybe care less about the other artists? Kinda goes against the common trope that I see people spread recently that Bang Pd would be beefing with MHJ. Instead it would assume that newjeans is the most important group to hybe right now and that groups like Illit, LSF, txt are just an afterthought. Bang pd is more involved with them thouygh as are other influential people at hybe, so that seems unlikely to me.

    From what I've read about TTH and New Music Friday they are controlled by a pretentious gatekeeping group of people who are no different really to the controlling powers of radio. It really might just be as simple as somebody in their team liking an artist. Data only seems to come 2nd to them and they greatly favor artists doing well in US/Europe markets.

    In the end TTH is so overrated to me that I feel like everyone is putting way too much importance on it. But that's a whole different discussion that I probably should not litter this thread with lol. I'll just link some articles about it below

    Playlists Don’t Hit Like They Used To
    As more listeners find music on apps like TikTok, editorial playlists from Spotify, Apple Music and other streamers don't break hit songs as much.

    Geffen is posting about them and they get exactly what every Hybe group gets tbh, from UMG...securing playlisting is on Belift, not UMG alone

    I don't know if geffen posting about them is that indicative. Sony's kobalt music is credited for magnetic as well so I'm not sure either label is willing to go all out for the song and let the other profit from it.

    and looking at how bad the playlisting is basically for all kpop acts I really doubt kpop companies hold that much influence over it. To me it seem they still rely on the influence that US labels hold over the biased playlisting team at spotify who clearly don't take kpop serious. If a song like magnetic was released by an artist directly under a US label it would definitely have been on tth already

    The uls of the top 10 are now actually quite similar compared to a year ago.

    This was for example the top 10 on March 31 last year. And then next to it is the top 10 today.


    A week later Kitch would reach above 400k uls on Melon daily which was back then the first song to do so since the newjeans songs. Perhaps we'll see a similar thing happening with Magnetic next week.

    If this is any indication for how Melon's activity will develop then there might be a couple of songs that will reach above 400k uls in May, perhaps even 500k uls again.