I do. They're both pop.
Thank you for that utterly worthless description.
Posts by Fluffers
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Also I find this entire topic hilarious cause you just go back a couple years and people were talkin about how Idol music was dead in korea with barely any idols charting substantially well unless they were outliers like BTS.
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Well firstly. Idols aren't a genre, they're a classification of artist.
Unless you wanna tell me Supershy and Queencard are the same genre of song.
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I think they are very forgettable songs.
That doesn't really matter what you think.
I'm personally no fan of Gee, but I'm not gonna sit around and pretend like it's not a fixture of Gen 2.
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The former seems to be the case.
In terms of IVE, I don't think Starship has a deal with any of the Chinese distributors.
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This is an interesting tidbit from Melon
From Melon Data Lab
For the first half of the year only six acts were able to reach #1 and five of them were Girl Groups
(G)I-DLE
Similarly in that same period those same groups cccounted for 1.18325 billion streams between just themselves. The five girl groups accounted for 1.1 billion streams in just 6 months
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I agree 3rd gen BG were better but is a bit outlandish claim the drop in quality is what made 4th BG stop charting altogether. I mean 4th gen BG music is still very much alive in Japan, China and SEA, seems like Korea is precisely the market actively boycotting/ignoring them
Stray Kids, TxT, Enhypen and even Ateez and Treasure can release hits (for kpop standards). Sure, not with the same reach as girlgroups, but still hits nonetheless. Looking at their monthly listeners it's clear for me they have lots os casual listeners
I would say the impact of BG stan culture had more impact on why they don't chart now than perception of quality.
The downtrend of BG on the charts kinda coincide with the reworking of the charts... which themselves is a result of the average Korean listener being sick to death of the main chart playlists being absolutely dominated by BG titles and B-sides.
Like I think people forget the ABSOLUTE RAGE koreans had when the charts(which impacts the most popular play lists on the main sites in korea) looked like this
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"Maybe 3" is fucking insane to say
Next Level, Tomboy, Love Dive, Hype Boy, Attention, Ditto, After Like, I Am, Queencard
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Digital Albums 2022 by sales
- BlackPink Born Pink - 884,714
- (G)I-DLE: I Never Die - 674,621
- (G)I-DLE: I Love - 659,370
- Red Velvet: ReVe Festival Feel My Rhythm - 208272
- Red Velvet: ReVe Festival Birthday - 145,213
- NCT Dream: Candy - 138,641
- Taeyeon: INVU - 115,303
- NCT Dream: Glitch Mode - 100,718
- BTS: Proof - 97,259
- NCT Dream: Beatbox - 95,420
- Seventeen: Face The Sun - 89,104
- SNSD: Forever 1 - 81,900
- Winner: Holiday - 75,853
- Miyeon: My - 67,974
- Seventeen: Sector 17 - 67,576
- NCT 127: 2 Baddies - 61,364
- SUHO: Grey Suit - 56,075
- Super Junior: The Road: Keep Going - 43,830
- Hyuna: Nabillera - 42,523
- Xiumin: Brand New - 41,557
- RM: Indigo - 40,636
- Super junior: The Road: Celebration - 31,954
- Chen: Last Scene - 21,498
- J-Hope: Jack in The Box - 20,392
- Ikon: Flashback - 14,938
- Yena: Smartphone - 12,114
- Epik High: Epik High is Here - 9875
- Woodz: Colorful Trauma - 7230
- Onew: DICE - 6228
- Tempest: It's Me, It's We - 5460
- Key: Gasoline - 4475
Digital Singles 2022 by sales
- BIGBANG: Still Life - 1,916,647
- BlackPink: Pink Venom - 1,485,956
- Seventeen: Darl+ing - 143,349
- Mamamoo: Mic On - 88,086
- Super junior: Winter for Spring - 37,214
- J-hope: More - 31,639
- Kang Seungyoon: Born to Love You - 27,867
- TXT: Valley of Lies - 25,506
- Tempest: Shining Up - 2885
- Tempest: On and On - 2386
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I remember a lotta folks claiming Kpop was dead a couple years ago lol.
Kpop will always survive, as long as folks keep having kids (which is actually something that shouldnt be taken for granted, birthrate numbers are kinda terrifying right now
).The top 3 acts in Korea right now are 4th gen GGs. Ive, NJ and Idle. I have a gut feeling not even IU could unseat them anymore, something just tells me that her mega concert in Seoul was her final last stand in terms of being at the top of the Korean music industry pyramid. There's a certain momentum that you can feel with each artist and i think with the hiatus and the news of her BF, i just feel it in my gut that she has relinquished her crown, just like Bigbang, the only digital act at her level, passed into history last year.
And no one else stands a chance of unseating the top 4th gen GGs these days. Even the musty balladeers and trottists, even the SMTM rappers, all of the hodgepodge that makes up the Melon Chart where every genre gets thrown in, all of the old guard are falling away one by one. This is Father Time at work, and he is inexorable.
And i think you're selling the mid tier in 4th gen a little short. LSRFM/Aespa/Stayc/NMIXX/Itzy have all charted in the top 10 of Melon, two of these at the very top. I wouldnt rule out any of these groups returning to the top 10, top 5 on Melon charts with bonafide hits.
Calling these the mid tier of Gen 4 is a fucking joke.
They're top tiers.
They are not the equivalents of an After School or a Brown Eyed Girls or a Secret. Be honest now.
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Well it's really hard to denote the shifts in music listening and purchasing habits.
But from what I've noticed, it does generally seem that 4th gen has the strongest dominance of any of the generations digitally in Korea.
Gen 3 was basically anemic in terms of the amount of girl groups. Like one can't deny the permeation of BP/Twice/RV internationally, but the entire era was basically just centered on them with nobody but Gfriend and Mamamoo ever showing up.
And Gen 2 while being much more spread out in who could manage to hit, never really had the kinda prevailing stretches of time that gen 4 does.
A hot song would be on the charts for maybe 3-4 months in gen 2, and nowadays, they'll be there upwards of a year or potentially more
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I feel like kpop fans don't understand what the fuck payola is.
Payola is not paid promotion. It's not ads, it's not playlisting.
Payola is when a company or artist bribes or strong arms an institution that promotes music to give preference and slots for particular acts.
Payola is illegal cause
- There's no transparency
- The way it works inherently shuts out other acts.
- The performance in many charts impacts the monetary gain from using payola
You can argue the moral quandry over Ads, and lord knows everybody was during like 2018=2019. But they're not payola. They're too visible and easy to account for diverge for the sake of cost/payouts to ever be Payola
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I miss happy songs. Everything is emo now.
???????
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The more I listen to this song, the more annoyed I get.
Like I don't think there's any fundamental faults in the beat or the girls delivery.
But Yeji sounds like she got recorded on a pop filter.
Ryujin has gotten vocally processed harder than a hybe boy group debut
And they're just drowning Chaeryeong in the instrumentation. That girl is buried under hi-hats.
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Finally listened to the song.
It's just lethargic afrobeat trend hopping.
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well nxde also did well in yt which was suprising too
I thought it would be a trend with ngg bc antifragile also did well along nxde but unforgiven didnt follow that
did you check eve instead of unforgiven?
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Queencard continues to be very strong on Youtube charts/Youtube Music, of all things -
External Content twitter.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.I wonder what's causing this.
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Arguing over removing songs cause of fandoms or whatever is just a way of soothing egos. Regardless of the reason, the songs are where they are and you've gotta accept that.
"I'd be first if not for the folks in first second third." End of the day, you're still not in first.
