I find it curious why this part was mentioned at all as if people would care about this operational detail. Could be a coded threat.
But it is indeed an important key to why ADOR was able to come up with some innovations (subsequently adopted and reproduced if we want to avoid the word "copy") that allowed them to turn profitable and for NewJeans members to be able to be paid so quickly after debut and now so well.
This response from MHJ is an example from an interview when asked about 4 MVs and budget in general:
Our budget is not too different from other companies or labels, because the production budget was planned from my experience with budgeting and market research. If anything, we were much more efficient given the amount produced. And sure, budget helps, but a lot of it doesn’t always lead to good results. I try my best to balance spending and creativity based on my experience in the field. And that’s one of the factors that allowed for a NewJeans to be paid so quickly. Account balancing is different for each company and is a top secret so not a lot of people actually know how they work. Maybe it’s because of this lack of understanding, but I saw a lot of people talk about how NewJeans were paid 2 months into debut... some were arguing that it was possible because we’re a part of a large company.
Given how rare this is in the industry, I understand. At least based on what I’ve seen, nobody had been paid this quickly. But nobody had 3 debut title tracks. And nobody had all three enter the charts so quickly and stay on top for the long run... we didn’t pay NewJeans because we were nice, and it wasn’t because HYBE is big. It happened because the necessary conditions were met. To summarize, it happened due to a balanced budget plan, a triple title strategy, and the outcome of being successful pretty quickly.
When I first decided on three title tracks, lots of people were surprised and said a lot of things, but I was able to make the decision because I was a producer and yet a CEO. Filming several MVs was also possible because I was a producer and a CEO. If you’re a producer, you need to understand that pop culture is not free from the numbers. I able to think about how to create those numbers and alternate solutions precisely because I’m a creative and an administrator, not an administrator that has nothing to do with the creative side.
Then how come we don't see this efficiency in the other label's profit margins for the ones that have profit? To be fair though, I agree that in general, two-way players are not the norm. Better to sign both a pitcher and a designated hitter than try to find the next Otani.
But that's all besides the point.
If I'm reading the translation correctly, more to the point is the possibility Hybe might be signaling to MHJ that they'll try to strip her of executive/creative control even if she does win the injunction and stays on.
