Posts by TPHF

Quote from gerrard174

I personally think these are mainly due to more hybe company stans giving chance to new groups debut under other Hybe sub-labels. Otherwise, hard to explain the coincidence that most are Hybe-related groups rising/going viral including TWS, ILLIT and now Bonedo. The continued success of LSRF + NJ following up to BTS, has really contributed to this, just like how the big 3 build their company stans. Even TXT and Enhypen are charting better than before.

Not that it is a bad thing. Hybe is equal to popularity nowadays, same like how YG was preceived as "quality" and JYP = hit GGs LOL

That's definitely a main factor but I feel like there's also more to it. There are afterall several non-hybe groups gaining attractions as well now. Riize of course, but also Kiss of Life, Qwer, Plave, Viviz.

The more noticable trend to me is that since 2022 idol music has been thriving in Korea, but that the traditional big 3 companies aren't the ones contributing the most to it. Gidle and Ive come from non-big 3 companies and they were succefull before any hybe gg had debuted that year. Everytime a group was succesful in 2022, it increased the momentum for kpop as a whole in Korea to the point that we now have at least 5 GGs that can dominate the charts there at the same time which is something unprecedented. The end of covid-19 probably also helped set the trend in motion.

With bgs now following the trendy sounds that these ggs conveyed, it's inevitable that they would start to reap the benefits from it as well. Many established bgs are also reaching military enlistement so they become less attractive for young korean fans to get into, so they will look for something else that feels more age appropriate to them. The fact that so many hybe groups now are doing well might thus simply be because they debuted a lot of them at the right time, whereas other companies are taking a bit longer to debut new groups.

Quite a big improvement for Boynextdoor on the charts. Their last tt reached 8k likes on Melon after 40+ hours while this one already has reached it after 7 hours. I don't think they had even charted on Melon top100 for one hour before. It's kinda crazy to me that Korean listeners are open to listening to so many new groups at the same time, both bgs and ggs.

The similarity between Magnetic's uls today and Fate's uls exactly a week ago continues to amaze me lol. Magnetic at 330,375 uls today at 10pm kst while Fate had 330,360 uls a week ago at 10pm kst.

Babymonster will most likely enter melon daily top100 tomorrow. The way they are promoting this one in Korea makes yg's treatment of the previous releases look only more silly. At least they have something now they can built further from.

Korean news also talking about the Korean government getting more worried about domestic music services losing the competition with international ones. They just ordered companies like Melon, Genie and Flo to review the possibility of establishing family plans. So far only Apple Music has those in Korea. It definitely could increase their subs but there can also be negative ramifications for artists/producers/songwriters as the payouts might be lowered.

Quote from K-PL

Illit got added to the TTH playlist at roughly 10pm PST 11/4 in the US

• 11/4 unfiltered streams = 3,771,833
• 12/4 unfiltered streams = 3,843,431 (+71,598)

So the total impact of TTH playlisting was +71,598 unfiltered streams.

It gained less streams from Thursday to Friday this week than it did last week when it gained 84k streams. Also on a week-to-week basis it only has 31k more streams this Friday than the Friday before. It's impossible to make any definite conclusions about tth's impact based solely on these numbers.

Though you don't really need evidence for understanding that getting placed as low as 44 on tth is pretty insignificant. Like how many people actually keep listening to all of the songs on that playlists. You'll need to dedicate more than two hours to it. I imagine that most people who use tth only listen to like the first 10-15 songs.

In general the user activity with Spotify playlists seems pretty terrible to me. You might be better off getting placed on a work out playlists with just a few million subs than TTH. I would really like to know what the average user activity is for the major spotify playlists.

Quote from Neurotic02

Btw anyone knows for what award criteria Melon yearly ULs for?

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It's not used for any. MMA uses cumulative uls for the tracking period of its awards but that is never the same as the yearly chart. To X. for example currently is still ahead of Love Wins All for MMA's tracking period which started in November.

Melon only announces after a year has ended which songs topped the yearly chart and then the media publishes a lot of articles about it, but there's no official award for the exact yearly chart.

more info:

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?

Just glad that the Prime Minister who paraded BTS around that one time at the Busan Expo ceremony was forced to hand in his resignation for the terrible election results.

Magnetic jumped from 8 to 3 on Japan's BB hot100 this week. Would actually have had a shot at 1 if it wasn't for Bling-Bang-Bang-Born absolutely smashing streaming records in Japan.

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.

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

n.news.naver.com

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.

Quote from Cold_Wave

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.

Quote from Beesknees

How high will Cherry Blossom Ending get this year

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.

Quote from selfmate

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.

Quote from Tatiana1820

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

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.

Quote from uwuwu-98

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.