Posts by YamaChwan

    HYBE achieves record 2 trillion won revenue, driven by 43.6 million album sales from SEVENTEEN, BTS & NewJeans
    HYBE has achieved a historic milestone as the first South Korean entertainment company to reach an annual revenue of 2 trillion won (approximately 1.…
    www.allkpop.com


    HYBE has achieved a historic milestone as the first South Korean entertainment company to reach an annual revenue of 2 trillion won (approximately 1.54 billion US dollars), bolstered by its solid multi-label system and explosive growth in album sales and concert sectors.


    On February 26, HYBE announced its 2023 consolidated revenue of 2.1781 trillion won and operating profit of 295.8 billion won, marking a 22.6% increase in sales and a 24.9% increase in operating profit compared to the previous year. Both figures are record highs, with a 3-year compound annual growth rate (CAGR) of 31.7% in sales and 24.7% in operating profit.


    The achievements were led by the activities of BTS members, currently serving in the military, and SEVENTEEN, who set a new record for K-pop album sales. Remarkable performances by second-year group NewJeans and the world tour of LE SSERAFIM also contributed significantly to the growth.


    HYBE's artists sold 43.6 million albums (according to Circle Chart) in 2023, doubling the previous year's figures, with a 38% market share on Circle Chart for albums entered. SEVENTEEN updated their own K-pop album sales record with a cumulative 16 million albums sold. Solo albums by BTS members also proved their global influence with 8.7 million sales worldwide. Albums by TOMORROW X TOGETHER (6.5 million), NewJeans (4.26 million), and ENHYPEN (3.88 million) were also well-received.


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    Streaming achievements were equally impressive, with notable performances by SEVENTEEN, Jungkook decorating the Billboard Hot 100 with "3D" and "Standing Next to You", NewJeans entering the Hot 100 with five songs, and LE SSERAFIM's "Perfect Night" making a year-end Billboard chart reversal.


    In North America, artists from HYBE America's country music label Big Machine Label Group (BMLG) and hip-hop label QC Music maintained strong streaming performances, leading to a roughly 80% year-over-year increase in HYBE's digital music sales, totaling about 300 billion won (approximately 230 million US dollars.)


    The dual engine of album sales and streaming revenue brought HYBE's record and digital music sales close to 1 trillion won at 970 billion won last year. The standout growth in streaming has led to a reclassification of the "album" category to include digital sales under the broader term "sound source."


    Post-pandemic effects also saw a 40% increase in concert revenue last year. This growth was fueled by an increase in the number of artists performing and total shows conducted, including sold-out tours by BTS's Suga, SEVENTEEN's "Follow" tour, the first North American stadium and Japanese dome tours by TOMORROW X TOGETHER and ENHYPEN, and LE SSERAFIM's first world tour.

    The global superfandom platform Weverse maintained a stable monthly average user (MAU) count of 10 million, thanks to the continuous addition of domestic and international artists. The number of artist communities on Weverse increased by 72% year-over-year to 122 at the end of last year, with Weverse Live sessions also on the rise.


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    HYBE plans to debut numerous artists this year, enriching its lineup with debuts from PLEDIS Entertainment's TWS, I’LL-IT, and KATSEYE, alongside active album promotions from existing HYBE artists starting in the second quarter.

    Additionally, HYBE America's management division, Scooter Braun Projects, signed new contracts last year and anticipates significant revenue growth with the upcoming release of Ariana Grande's album this year.


    Alongside its financial report, HYBE also announced a shareholder value enhancement plan with a dividend of 700 won per share, totaling 29.2 billion won, reflecting its commitment to prioritizing shareholder value despite being in a growth phase.

    In a novel approach, HYBE applied Supertone's AI audio technology to its earnings report conference call, using TTS (Text to Speech) technology based on big data to vividly replicate CEO Park Ji-won's voice, capturing attention for its innovative application.


    Thanos Marvel GIF - Thanos Thano Marvel GIFs

    Your argument is totally flawed. Idc how many times they've been invited to that show, if you're going to use that as one of your main barometer why you're assuming they're a legend? That's very weak. We're not gonna measure a group being a legend by one show. It's their entire careers. Tell me which career is more impressive, bp or mamamoo? Now this one I will see if you're just super bias or reasonable. :cursing: :cursing:


    For the third time, I'm gonna say for the third time, stop pretending you know about bp. When did they join a competition? Idk ask Rosie. She joined 2 shows. :cursing:


    Overhyped? Yeah, they were being praised for their coachella performance. Oh wait, that's should not happen to "overhype" or "average" groups :cursing:

    ;judgingpepe:

    Anyway. For Japan it should be NJ/LSF, just how you had it as NJ/IVE for Korea.


    Album sales in Japan in 2023: (compare between the 4 groups)

    1. Le Sserafim - UNFORGIVEN (118K)
    2. Ive - I AM (40K), Baddie (69K)
    3. NewJean - OMG (36K), Get Up (69K)
    4. aespa - MY WORLD (56K), DRAMA (26K)

    Stream Oricon 2023:

    #15 NewJeans - Ditto

    #25 NewJeans - OMG

    #41 Le Sserafim - Antifragile

    #51 NewJeans - Hype Boy

    #71 IVE - I AM

    #84 Le Sserafim - UNFORGIVEN

    #95 NewJeans - Super Shy

    Album ranking on Oricon Yearly:

    #39 IVE - WAVE

    #44 Le Sserafim - UNFORGIVEN

    #64 NewJeans - Get Up

    #65 IVE - I've Mine

    #73 aespa - MY WORLD

    #91 IVE - I've IVE


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    Album sales to go LSF. Digitals go to NJ.


    With the Summer Sonic invite, Kohaku invite and this achievement you conveniently ignored:


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    There is zero reason to put them in separate tiers of popularity in Japan.


    But I think I've made my point clear enough, regardless of your inflexible mindset.

    Your criteria are flawed too. I wouldn't compare Nj to Lsf, who make $14.6 million in Japan alone, with a group that only charts well there for one album while can't keep the momentum for their next one. The gap is too huge, and it's laughable.

    You're trying entirely too hard to force this narrative of there being some huge gap when there isn't.


    NewJeans songs chart better for far longer, while the group itself has been invited to headline literally the biggest music events in the country while winning awards no other girl group has received at the country's most prestigious music ceremony.


    There is no timeline where a group accomplishes this and ISN'T one of the top girl groups in said country. It's that simple. Your mental gymnastics won't change that fact.


    There is no flaw in my criteria, because I look at all the measurements of success instead of hyper fixating on the ones that are convenient for the narrative I wish to push.


    LSF have an edge in physical sales, while NewJeans have an edge in digitals, and that's without a Japanese member like Sakura or Kazuha.


    In 2016 and 2017, Bp was one of the top groups,

    Nothing else you said after this matters. By your own admission, you acknowledge BlackPink as a top girl group in two years where they didn't have any album sales. So what did we use to gauge success for them? Exactly. Their digitals and popularity with the general public. Album sales measure FANDOM not overall popularity.


    You're also now moving the goalpost and trying to strawman this into a conversation about who is the most popular when that was NEVER the point of contention. I don't care if you album sales matter to you more than digitals and public recognition to determine the general popularity of the group, but it's irrational to discount digitals and being recognized at the biggest music venues in the country while putting album sales on a pedestal.


    You're grasping at straws at this point. You have no idea how much money LSF made in Japan relative to NewJeans. Hell, I at least have more concrete numbers to stand on than you, since Hybe is a publicly traded company, which means it has earnings reports, which showed ADOR to be the most profitable sub label. They invested minimally in Japan so far and have yielded fantastic results.


    LSF is doing great in Japan as well, and I never argued otherwise, but they aren't some untouchable dominant group there, when there is another group putting up much better digitals.

    Get Up didn't have 200k copies in album sales on Oricon; this figure includes digital sales. Yes, Nj still aren't on par with Lsf. In Japan, charting was all Nj had too. Whatever performances they do or attend are aimed at leveraging any hype they have there. If Fifi didn't have those lawsuit issues, they'd likely follow the same pattern. Cupid is also still in the top 10 for BB World Digital Song Sales. What's the difference between them, other than Nj being able to promote their song more in Japan and Fifi not? Yet, even after Ditto's success, as I mentioned, Newjeans' physical sales there didn't increase much. So, there's no guarantee they are really popular there. Super Shy and Eta didn't even perform as well as Ditto or Omg either. Lsf has both sales and charts, so Nj needs to prove they can sell well before they're on par with Lsf, who even managed to beat Twice in Japan.


    Logically, if they're really that popular as your claims, it should reflects well with their sales.

    Your criteria is simply flawed. A group that hit all the marks I outlined earlier not being considered a top group in Japan is simply illogical to me. Their songs are charting higher for much longer and they're getting invited to the biggest shows in Japan, winning awards their predecessors have never even won, and if it's demand, we saw that at Summer Sonic.


    They have, by far, the best charting music in the country, so how can you claim they need to prove they're popular? By that logic, Sistar was never popular in Korea, since their album sales were always low due to their smaller fanbase.


    Album sales do not reflect the overall popularity of their group, just the strength of their core fandom and its willingness to buy said albums.


    Here's a fun thought experiment.


    Did you think BlackPink wasn't one of the top girl groups in Korea in 2016 or 2017?

    These survey results are most interesting. My team of researched hoped to collect a solid data set to analyze, but this was beyond what we would've hoped for :pepe-notes:


    More surveys to come.


    The AKP Sones are alive and well

    This doesn't prove anything. If you're putting Newjeans and Le Sserafim in one group solely based on charts, then Newjeans and 50/50 should also be on the same level in the US because 'Cupid' definitely qualifies for the your criteria here. And there's no real evidence that this will translate into a real support, so we can only determine that after they properly debut there. Despite the success of Ditto and OMG, Get Up album sales on Oricon are only 69k, only slightly increased from their previous album sales. So, their fanbase is not really growing that much despite how big their songs there.


    Newjeans' sales in Japan are quite on par with Aespa that didn't even have any hit song there. So, instead of Newjeans, I probably would put Aespa because at least they've proven they can sell out Tokyo Dome. Outside of Ditto and Omg to some extent, Nj is still not on par with Lsf yet.

    Except we have significant evidence that the strong digitals did translate to support. I'm not sure why you used a false equivalence like mentioning 50/50, when charting was all they had and nothing else.


    NewJeans have the best digitals by far, strong physical sales (I'm not sure why you ignored Get Up selling 200k copies on Oricon), headlined one of the biggest music festivals in Japan, was the first girl group to win an award at Japan's most prestigious music awards show, and were even given a main event time slot during Kohaku, but they're somehow NOT one of the girl groups dominating in Japan?


    Do you read what you type? Outside of two of the best charting girl group songs in the history of Japan's Billboard, NewJeans aren't on par? That's a laughable statement.


    There are many, many more reasons to include NewJeans as a group that's overwhelmingly popular in Japan than there are reasons not to. Your logic to do the latter has been quite specious.

    None of those Twice songs were Japanese singles, they were mostly early Korean singles before they even started promoting heavily in Japan. You sound like a clown who's smiling on the outside and crying on the inside.

    I didn't realize Twice was a fourth generation girl group that didn't have any Japanese members and never actively promoted in Japan. Yes, those are totally the same thing. The Idiot Convention ended yesterday.


    You can go home now and continue to seethe over Twice flopping so hard with their digitals in their most recent comeback that the ensuing Once meltdown was so bad that Jihyo had to publicly address it.

    Just what age range is Kpop supposed to be aimed at? I noticed a lot of K pop reactors are adults. I just get triggered when I see old creepy men in the crowds or in the audiences. I'm a young female so I'm not really sure what age range its supposed to gear towards???

    There is no age restriction on enjoying music. It's demeaning and sexist to target male fans. Guess what? Female fans can be creepy too. Younger fans can be creepy too.


    An older man who is a legitimate fan of a group and wants to enjoy a concert doesn't deserve to be labeled a creep just for being in the venue.


    And it's mostly older fans funding and supporting these concerts. Young fans obviously couldn't afford to. These groups wouldn't have anywhere close to the sales numbers we see without an older demographic spending their hard earned money to see them

    Why bother putting girl groups and boy groups in the same discussion when their situations and fandom behaviour are totally different when their? For gg, we all know that the ones with huge sales are also usually the ones with huge popularity. Why not simply wait for Newjeans' debut in Japan to see how well they're doing there? And why isn't Newjeans mentioned here? It's because they are still behind Twice, while Le Sserafim managed to break through, which is why these two groups don't belong in the same category yet.

    Because using just physical sales is a flawed way of determining who's popular in a country. It's the same logic for why we don't flatly use album sales for comparing boy groups and girl groups and use a variety of metrics.


    NewJeans is, by far, performing the best digitally in Japan. Ditto and OMG are on pace to become two of the biggest hits in the history of their charts. It's objectively silly not to include them, when they're putting up these numbers even when they've yet to actively promote there.


    Those tweets were just a drop in the bucket.


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    There are plenty more where that came from.


    It's clear that NewJeans is the most popular girl group in Japan too. We don't need to wait.

    Why would you restrict this to just sales? By that logic, you could argue that Stray Kids or TXT or Seventeen are bigger than BlackPink and NewJeans in the U.S., and I don't think anyone would make that argument.


    If this is a sales ranking, I wouldn't have even responded, but your thread's whole premise is about different girl groups achieving great success in different countries, and NewJeans, digitally, is performing better than their peers in Japan. Significantly better at that.


    There is no reason to exclude them.

    We will wait till they have their sales there first after their jp released

    Huh? Your criteria is already arbitrary, and this goalpost is no different. NewJeans, by far, have the best performing songs digitally in Japan, amongst their peers. They've already been invited and performed at Summer Sonic, and their stage was so popular that the festival staff had to block people from entering after the venue reached capacity.


    They should obviously be listed for Japan. Refusing to do so to maintain your narrative about which groups dominate in different music markets/countries is silly.

    Oh I know seeing those lists being just full of twice makes you cry a little

    It excites me actually. Because I get to watch NewJeans slowly kick out those Twice songs from the list as they grow bigger and bigger in Japan


    NJ did this without any official Japanese promotion, no Japanese members and zero Japanese singles.


    Imagine their numbers once ADOR actually starts trying to promote them there.

    4th gen girl groups each have their own market they totally own.

    Japan:

    Lsf

    About that


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