Posts by Zenning

    Ever since Mnet structurally, wilfully pretended SNSD's Gee never existed with MAMA and regarding every one of their awards shows, just because they had a feud with SM Entertainment going, Mnet has been sus in how much they allow personal motives to influence their shows incl MAMA.


    This has been proven time and time again, the latest examples being their tinkering of Produce rankings.


    Everyone should decide for themselves how honest and fair they consider a party like Mnet and its shows, considering Mnet's long, proven history of unscrupulous, unremorseful manipulations of its own shows' results.


    But to me, Mnet's like a Trump who after years of his tweeting history, tweets once again 'trust me!', 'real news!'

    ... sure, hon, sure. Fool me once again, please, will ya? :yesr:X/

    First show me where Teddy even pushed Somi to achieve YGE GG level bc 1 song per year sure isn't a push.

    honestly, Somi has it worser than all other YG artists.

    Actually, this is a good point.


    So it's basically the approach to building up the brand and image/rep of Somi as artist that Teddy has tackled in the wrong way, that makes the difference?

    It's true that Somi's hype as potential new mega star wasn't capitalised on by either JYPE nor YGE/TBL, so that it faded and diminished.

    And solo artists and group idols having their solo comebacks have it extra hard, without the backing of huge popularity and fan base.


    Then it's actually impressive how YGE people have managed to turn a disadvantage, sparse content and overtly long hiatuses between comebacks, into an advantage by building up the brand power of their groups and artists, enough to bridge those long periods of inactivity between comebacks.

    An advantage that Somi apparently didn't have, as a new upcoming solo artist, her former hype diminished and still a weak brand as a solo artist, with too little content and too much inactivity between comebacks.

    Black Label are still learning the ropes.


    I think for a successful creative like Teddy, it's very easy to think,

    "All of these hits are because of me. I wrote them, and they were good, and everybody loved them. So if I continue to write what I consider to be great music, that success will keep coming."

    When, obviously, reality is a different thing entirely.

    I think that's what you see with Brave Entertainment. Brave Brothers turns out hit after hit for other groups that make them popular and famous, and then relies on sheer dumb luck for his own groups to get popular.

    So there's more needed than just a great, talented producer of songs and idols with star potential.


    And isn't that what the YG staff and people add to the equation, with their promotional network and expertise in brand building?

    Suhyun is yg and she flopped. So no. Ppl give yg too much credit when their artist does well.

    There are no guarantees in life, even the best sportsmen don't score big time in every one of their games they play but instead have their off days too.


    But YG have had too long a streak of successes with a wide variety of songs and artists for it to be just coincidental.

    It becomes especially interesting when you take YG Entertainment out of the equation, and see how those artists and producers do on their own, to determine what it is that YGE adds to the equation.

    CL, Minzy, Teddy, how successful were they with different teams and companies backing their comebacks and without an YG team doing their part of the job for them.

    I really, really like her and wish her well and that she'll become successful, she deserves it.


    But this song feels a bit lacklustre, it's missing something. Maybe it's too short or such?


    But she looks stunning, as always, and she has such great charisma and presence.

    Something that Somi's comeback made me think of.


    Teddy, I think no one can deny that, has been 1 of the most productive, talented producers that K-pop has seen, with a LOT of megahits that can be directly attributed to him.

    Somi has that x-factor and potential it girl vibe from the moment she entered K-pop, and she has been a beloved variety queen for ages.


    This should be a golden formula for mega hits and grand comebacks that'll hit it out of the ballpark easily, right?

    Except it doesn't.


    Somi has had several comebacks now, and they're nowhere near on the level of 2NE1 comebacks, BP comebacks, not even Lee Hi comebacks.


    What makes the difference?

    The only thing I can see is YG Entertainment.


    Not sure what or how they do it, but they seem to have had a really good knack in promoting their girl groups (and in the past, also their boy groups and other artists) and make them big, and make Teddy's talents and their artists' potential work for them.

    While when Teddy and his team has to do it themselves, it'll just remain potential unfulfilled of his protegés.


    Maybe it's still too premature, and will Somi's Dumb Dumb become a smash hit. I really hope so, she deserves it, she really has something unique and precious.

    But if not, it does make one wonder.

    I think that BTS and their success are quite unique, in the sense that The Beatles and Michael Jackson en Madonna and their success were unique.

    Sure, there were successful groups and artists before and after The Beatles, Michael Jackson en Madonna, but on their level? Only a very, very few.


    As for K-pop's success in the West in general, I think a lot of people forget how protectionist the US - and not to forget, racist, intolerant and culturally prejudiced - is in a lot of things when it comes to American/Western culture and lifestyle and influences from outside.


    I read these articles, how a handful of very rich, extremely conservative men, had made it their business to buy up the majority of radiostations in the US over the past decades, to make them into their propaganda tool and use them for their agenda.

    That small group of hyperconservative old men are essentially gatekeeping the radiowaves, keeping everything and everyone out that they dislike, and that includes K-pop.

    And they're not the only ones, moguls of the music industry and other entertainment branches will react against any outside, non-American and non-Western influences - basically anything that's outside their control - that they perceive as a threat towards their little kingdoms and them filling their pockets.


    However, the pop music industry in the US, just like so many other industry branches, has become stagnant, and has been so for a long time now.

    Power and influence has been growing and establishing itself in the East, outside of America's control, for quite a while now and that means cultural influence too.

    People might gatekeep American radio and TV against stuff those small groups of people don't want on it, but there's always youtube, other streaming platforms, social media etc that will and can pick it up and make K-pop and other non-American music blossom.

    Just like AirBnB circumvents hotels, and cryptocoins and other non-banks circumvent banks, K-pop will find its own ways to grow.


    The US and the West and that includes their cultures, are slowly getting outpaced by increasingly confident and blossoming countries and cultures elsewhere in the world, in the same way that the countries of Old Europe in the early 20th century were getting outpaced by the US and the USSR.

    This is a good thing: in a world that keeps changing just like it always has, it means that the K-pop industry, as time goes on, doesn't need to be dependent on the goodwill of American industry moguls for it to flourish on a global scale.


    But will this mean that other groups besides BTS will be able to flourish in the West in the upcoming years?

    That remains to be seen, and that'll be the interesting thing to observe in the times ahead.

    Peak is what often determines whether a song is seen and remembered as a hit, but not just any peak, it has to be a significant peak, one that lingers on its top for a while.


    Longevity determines whether a song was underrated at first and happens to be a sleeper hit like Me Gustas Tu, or Dolphin.

    Ooh, that is nice! I thought SM Station had ended, great to see it still continues.


    This kinda reminds me of a former dance performance that Ten did


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    :omgr:



    This wasn't even just a dance anymore. This was pure art.

    It's just so adorably cute how they speak English :froghype::omgr:


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    Also, other SM artists dancing to Next Level :lover3:


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    If there's enough demand i think this time they will restock quickly, recent albums from theirs artists also went out of stock and they restocked fast

    I really hope so!

    That's great! :claps:

    based on this number, can we predict how their sales will end up?

    Based on how well the I&S sub-unit did (230k) and how well the individual members' debut albums did (100k, 180k) and seeing how album sales across the board for practically all groups has doubled and sometimes even tripled since 2020, I'd say that 300k should be attainable.

    i didnt say she didnt, I'm not an anti

    I'm just saying teshub only likes her (and other beautiful idols) for her looks

    He's definitely looks focused, agreed :yesr:



    Sadly enough, it didn't prevent him from shading Irene and her other group members on a regular basis all these years, up to the point that it seemed an obsession :(


    Although the last year or so he seemed to have mellowed out and his attention more and more away from Irene and RV (luckily enough) towards other things and other idols.

    I'm not that familiar with ATRL.


    But hatred and prejudice towards BTS in western media and platforms, isn't it more that anything that doesn't originate from the US - or the UK, or at the least a western country - is immediately suspect and treated extra critically?


    I know that when it's about K-pop and K-pop groups, western media has always had this tendency to focus on the most negative aspects they can come up with.