I think most of the people who have replied so far have been fans of male idols. That's fine, but it's a lot harder for female idols to have children and still be performing. Much of K-pop is not just singing alone, but also dance choreography. And dancing as a group. Which you can't do if you're pregnant. Plus, constant performances are very difficult too even after childbirth, for things like the breastfeeding and the children's sleep schedules. So many girl group members simply cannot have kids and maintain an active K-pop idol promotion at the same time. It's a bit different for singers who primarily perform OSTs or behind-the-scenes songs, like balladeers or what Baek Ji Young did. But still.
So, I support them continuing to promote, but only if they feel that's what they want and their kids are okay.
Actually, I think DSP would still have been considered a big company when KARA debuted. They didn't really start to go downhill until about 3 years after KARA's debut, when the founder had a stroke and had to hand over management to his incompetent relative. It was Rainbow (KARA's juniors) that really suffered. And, of course, the management became so bad that two of the KARA members tried to pull out.
- Stray Kids met a bunch of different hospitalised kids all around the world (Japan + Australia, USA + Canada) through videocalls during the CoVid pandemic.
Just like howSM Ent has a Halloween Party tradition, JYP Ent has had a medical charity tradition stretching back decades. I've only linked the stories where the artists were involved in granting wishes, but those comprise less than 20% of all the wishes that JYPE has granted to sick kids around the world.
LOL, welcome. With the way TWICE have been developing both musically and geographically, I anticipated more multi-stans / multi-fandoms would eventually convert to TWICE. There's something for everybody in their discography lately.
I always like the story of how Jae called JYP at 3 a.m. with his anxieties and JYP comforted him and prioritized his artist's happiness over the company's finances.
KBS is the government-sponsored channel. They're more sensitive and stricter than the other channels, because what they allow to air reflects on the government. They're basically the Korean equivalent of the BBC from the UK, or I guess PBS in the U.S.
Just updating this thread with more TWICE gaming-related CFs. Now they're continuing with advertising Mario Party Superstars, as part of their Nintendo campaign:
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I also like how, with the Crazy in Love album, ITZY have become the most prolific girl group of the 4th Generation, with 33 original songs (and about half-a-dozen remixes) put out so far. At 3 years old, that's an average of 11 new songs per year, usually split into two regular comebacks every year at Division 2's more moderate pacing (compared to the crazies at Division 1 and 3). Though with the new Japanese promotions coming up, maybe the pace of releases will increase now that they've got a new market to promote in as well.
1. I don't think it would be possible to determine conclusively how many artists have 0 wins. Wouldn't that require me to start with a list of *every single Korean artist*? And then from that list, I would remove everyone appearing in my database, as they would have at least 1 win. There are just so many unknown, win-less artists out there that this seems like an impossible task, right?
Now if we limit the analysis to only artists who have at least 1 win, then things become more feasible. In fact, in my initial post, I have everyone with 13 or more wins listed, so there's already enough data to construct a partial histogram.
2. I've actually considered taking a look at this as well, and the calculations would be fairly straightforward I believe. However, the problem is that such an analysis would require debut dates for each artist listed in my database. Is there a good source for this information? Something like Wikipedia only works for popular artists, and not older/more obscure ones. I also don't want to be researching debut dates for potentially thousands of artists.
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1. Yeah, you're right, compiling a list of artists with zero wins is probably unfeasible. Having a minimum of 1 win is sufficient, I think, to give us a good picture. The partial histogram starting from 13 wins is also okay if you don't want to spend too much effort on it.
2. Hmm... the best source I can find is basically the Melon artist pages for each artist (e.g. Yang Soo-Kyung, DJ DOC), but it does require manually searching for them on Melon. Even then, you're right in that Melon doesn't track the debut dates of some of the more obscure artists. Perhaps, instead of trying to track everyone, we could take a sample of the larger list? I have a couple ideas for this:
a) You already have the date for the artists' first music show win. Perhaps you could use that instead of the debut date. So we're not looking at longevity per se, but rather the potential for an artist to sustain wins after gaining the public's attention vs becoming a one-hit wonder (regardless of how long it takes for them to get that first hit). Then you can do a stratified random sample using 20 artists who had their first win in each 5-year period (e.g. first wins in 1995 - 2000, 2000-2005, etc.) to build up a sample that has altogether 120 artists (assuming 20 artists from each 5-year period from 1995-2020).
b) It seems that the best way to differentiate the one-hit wonders / hot rookies from the old reliable sustained winners is actually to do some sort of weighted average, where the further you are away from your first win, the more heavily-weighted that win should count towards your average. So have a scaling factor where the weight increases for every year beyond the first win year. (e.g. first win year weight = 1, one year after first win weight = 1.2, two years after first win weight = 1.4, etc.). Not sure whether a linear weight increase or exponential weight increase is better. (My gut says probably exponential for more realism, but linear is simpler to represent).
Not as far as I recall. He was definitely one of the most well-known of INFINITE, and most people who followed Kpop could at least recognise his face (even though they wouldn't know much about him), but just about average levels of fame among the general public. If you define "It Boy" in terms of something like the Brand Reputation Index, for example, he would be somewhere in the 10s - 20s for rankings during his group's heyday. Not nugu, but not top-tier. I think it was only after he started getting bigger roles as an actor that he became more well-known among the public.
I was just randomly thinking about possible interesting data visualisations for this database, and wanted to bounce some ideas off you:
I've been wondering what the average win count of a Kpop artist (or perhaps just an idol group) is. Would it be possible to do a frequency distribution / histogram of the number of groups who fall into the '0 wins', '1-10 wins', '11-20 wins', '21-30 wins', etc. categories? I would like to see what the mode is (even though I have a sneaking suspicion it's going to be the '0 wins' category, it's possible it might be a '1-10 wins' category) and the shape of the distribution. Basically, I want to know roughly howrare it is for an artist to have over 50 wins (or 100 wins, etc.)
I would also like to see what kind of effect longevity in the industry has on the win rate. Can we calculate the mean number of wins per year for active artists, and then show the distribution or ranking? I want some way to visually-differentiate the one-megahit wonders from the consistently-winning artists, and the hot rookies from the old reliables. (Of course, this may need to be somehow moderated by the inflation scaling factor for music show wins as you once calculated before)
Do either of these sound like a feasible / interesting project for you?
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Hopefully she has gained the approval of her father-in-law. He seems somewhat willing to accept her, at least, given that he's willing to share baby pictures of his son. But she's still got a rather long wait.
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NiziU's song "Take a Picture" was one of the 10 works this year selected for the "Excellent Work" award for the 63rd Japan Record Awards, which is considered to be Japan's equivalent to the Grammy awards. The 10 works that win the Excellent Work award are also the nominees for this year's Grand Prize, which selects the best song that represented the year in Japanese music. The live broadcast of the awards show where the Grand Prize will be announced will take place on the 30th of December 2021.
Other winners of this year's Excellent Work award (and hence, the fellow-nominees for the Grand Prize) are: AKB48 "Roots and Leaves Rumor", Awesome City Club "Forgetfulness", Pure "Because You Are By Your Side", Da-iCE "CITRUS", DA PUMP "Dreamon the street", Nogizaka 46 "Sorry Fingers crossed", Kiyoshi Hikawa "Happy!", Daichi Miura "Backwards", and LiSA "Akeboshi".
The Grand Prize would be awarded to both the artist and the production team of the winning song. "Take a Picture" was performed by the nine members of NiziU, and composed by the producing team that included Ciara Muscat, J.Y. Park, Mayu Wakisaka, Sim Eunjee, Tim Tan, and Trippy.
NiziU debuted one year ago, on 2 December 2020. "Take a Picture" is their second single after debut, and has won over 123 crowns on various music distribution charts worldwide. Here's the music video and dance performance video of Take a Picture:
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The answer to this question is either so simple that it is meaningless, or it is so complex that it is hard to answer definitively.
It's like asking the question: "Who is more popular internationally - Beethoven or Elvis Presley?"
Two very different time periods, many very different ways of music recording and distribution, changes in musical styles and trends, changes in world population, etc. The answer is either so simple that it is useless, or so complex that it's difficult to give any sort of objective answer that isn't just pure subjective opinion.
One of these days, TWICE would have gained enough momentum and popularity in Europe to hold a full-scale European tour, instead of their global tours always only being centered on North America. Slowly, but steadily, their European fanbase has been increasing. I've seen TWICE MV reaction videos on YouTube that have been uploaded by French, Spanish, Italian, German and Russian reactors. Since Lithuania is halfway between Germany and Russia, eventually TWICE's name would have spread far enough for them to hear about it too. Looks like it's happening.
I haven't seen or heard such a wonderful expression of pure girlhood since early GFRIEND. A lot of this also reminds me of the early 2nd-gen sound, which I love. NiziU has such a deep and wide-ranging vocal line that they can pull this off perfectly. Riku especially deserves credit for anchoring everything with such a warm and stable tone.
