Comment a kpop group and I'll reply with my fav vocalist and fav dancer in the group

submitted by /u/CherryBlossomEnding [link] [comments]

Don't you think that BTS and BSH relationship is actually similar to MHJ and NJ relationship? The system where idols are dependent on producers so heavily that they can't quit even if they wanted to and also are in semi toxic relationship where they are grateful for them to make them successful? Maybe it's a norm in K-pop but I think part of the business is getting people who are trainable instead of truly talented and experienced seems to be more important. Then after they follow the producers/CEOs recipe they basically can't quit because what they know is how to follow instructions. It's like school when you learn 20 subjects. You may be better and some and worse and some but don't have a time to focus intensely on one. Therefore never master it completely. I remember that in one survival show while judging one contestant someone said "he should be an artist not K-pop idol" and that kida stayed with me. I mean aside from RM and Suga who actually did some music before joining BigHit other members were either not experienced or dancers. Not experienced can be trained to do what company wants them to do and dancers unfortunately have an expiration date. If they get older they cannot perform as they used to so they also have to follow the company ideas. As far as I remember only RM and Suga wanted to do something related to music strongly but I would say they were forced to be Pop when they wanted to be more of a hip-hop. So basically before Hybe they were under BSH and when Hybe was created BSH said bye bye here you have good western producers and good luck. No wonder their music is not the same if BSH and other Korean producers is not managing it how they used too. Don't get me wrong RM and Suga maybe also J-Hope knows something about producing but I think it works more for their solo stuff rather then group music. Although they claim to be self produced I bet BSH and other producers were mostly saying what works and what doesn't. If NJ didn't get into battle with Hybe I think it would ended up the same and actually many if not majority of Hybe groups seems to be heavily dependent on producers. "Follow the instructions but don't get too independent and too good at something because they you would want to go solo" type of manipulation. That makes this toxic relationship where they don't have a choice but to follow and probably won't realise it until they get to old to be considered trendy. Then after few years idols are left on their own and forgotten by companies hopefully by then they will earn some money and gain popularity because if not it's basically free labour for companies. I think from Hybe only Seventeen would be able to go "solo" and survive because they have Woozi but who knows. I don't know much about other companies. I think with JYP it may be similar. SM too but at least they were teaching them well how to sing. YG is case by case but it seems that artists have a bit more knowledge about producing music. At least boy groups. Nowadays it may be different though. I don't know. It's weird that only MHJ&NJ relationship is shown as clearly toxic but honestly I think it's similar for many many groups in K-pop. NJ were just too popular too quickly so brainwashing mechanisms worked even better. What do you think? submitted by /u/TruthApprehensive304 [link] [comments]

Today I saw people debating whether K-pop is “BIG-3” or “BIG-4.” At first I leaned “BIG-4” — YG, JYP, SM, HYBE — because HYBE is obviously far bigger than any single label and should be included. But when you map out HYBE’s assets, it’s clear HYBE isn’t just a label; it’s a global ecosystem (Weverse platform, worldwide distribution ties, multi-label architecture, centralized IP/tech, touring/merch pipelines). Likewise, SM is no longer an independent label; it’s under the control of Kakao, which itself is a Korean-rooted conglomerate with a full content ecosystem (KakaoTalk, Melon, webtoons/novels, production, publishing) and multiple labels beyond SM (e.g., Starship, EDAM). There’s also CJ ENM, which you simply can’t exclude from K-pop’s top tier: its ecosystem (Mnet/tvN, MAMA Awards, KCON, Studio Dragon, Mnet Plus) drives the industry’s global stages, shows, and narratives — and it also operates labels like WAKEONE. So here’s the structure: BIG-3 — Conglomerates (not just labels) Why HYBE is a conglomerate: Own platform Weverse (fandom, live, merch/ticketing, Weverse Albums). Global distribution alliances and an in-house IP/tech stack. Multi-label architecture across KR/JP/US; centralized marketing, touring, and IP commercialization. Labels → groups (examples): BIGHIT MUSIC → BTS, TXT BELIFT LAB → ENHYPEN, ILLIT PLEDIS → SEVENTEEN, fromis_9 Source Music → LE SSERAFIM KOZ Entertainment → BOYNEXTDOOR HYBE Labels Japan / YX Labels → &TEAM HxG (HYBE × Geffen) → KATSEYE Why Kakao is a conglomerate: Controlling shareholder of SM Entertainment (SM remains its own company, but under Kakao control). Part of the Kakao super-app ecosystem: KakaoTalk, Melon (top KR music streaming), KakaoPage/Webtoon, production studios, publishing. Multi-label portfolio + end-to-end content/distribution rails. Labels → groups/artists (examples): SM Entertainment → EXO, Red Velvet, NCT, aespa Starship Entertainment → IVE, MONSTA X, CRAVITY, WJSN EDAM Entertainment → IU (and WOODZ) Why CJ ENM is a conglomerate: Operates major TV/music networks Mnet (incl. M Countdown) and tvN, plus drama powerhouse Studio Dragon Orchestrates global K-pop tentpoles: MAMA Awards and KCON, with the digital arm Mnet Plus Multi-label architecture spanning KR/JP (e.g., WAKEONE, LAPONE) Why it matters: Survival-show pipeline (Mnet): an incubator for future top groups, seeding their early fandom (Produce 101 → I.O.I; Produce 48 → IZONE; Produce X 101 → X1; Girls Planet 999 → Kep1er; Boys Planet → ZEROBASEONE; I-LAND → ENHYPEN; R U NEXT? → ILLIT; Sixteen → TWICE; NO.MERCY → MONSTA X; WIN/Mix & Match → WINNER, iKON; Stray Kids → Stray Kids). Mnet / M Countdown — weekly TV backbone with massive domestic & global reach for debuts/comebacks MAMA Awards — the year’s most export-facing K-pop awards; prestige, viral stages, leverage for brands/bookings KCON — global festival platform (US, JP, etc.) that builds fandoms offline and drives merch/ticket sales + B2B ties Mnet Plus — always-on digital hub for clips/shows/exclusives; captures fan data and sustains engagement between releases Labels → groups (examples): WAKEONE → ZEROBASEONE, Kep1er, IZNA LAPONE → JO1, INI, DXTEEN Why the BIG-3 are different The BIG-3 are conglomerates—their value isn’t just owning groups, but owning and operating the infrastructure K-pop runs on. That’s the body of K-pop: not merely hiring a great choreographer or filming a glossy MV, but building the rails—distribution networks, broadcast/digital platforms, fan communities, and commerce layers. Without those rails, songs would be just YouTube clips and Spotify tracks. Real revenue spins off multiple flywheels—advertising and endorsements, touring, memberships, and merch—all of which depend on powerful promotion pipelines and the platforms where fans can buy, subscribe, and stay connected. The BIG-3 don’t just make idols; they run the ecosystem that makes idols valuable. BIG-2-Labels (just labels, but significant ones) Flagships: BLACKPINK, BABYMONSTER. Strengths: powerful producer brand, global partnerships, strong IP and visuals. Why significant (even as a label): Global mindshare: YG’s house style (hip-hop/visual swagger) shaped a whole lane of K-pop; the “YG sound” is a brand in itself. Touring & brand power: Stadium/arena tours, luxury endorsements, massive social reach—turns comebacks into global events. Hitmaking producers: From Teddy’s lineage to in-house choreo/creative, YG reliably manufactures headline moments. Why “label,” not conglomerate: no owned broadcast/streaming platform or multi-network stack (relies on partners rather than a full ecosystem). Flagships: TWICE, Stray Kids, ITZY, NMIXX Strengths: consistent A&R pipeline, global touring, tight trainee system, solid distribution alliances. Why significant (even as a label): A&R pipeline and training system: JYP’s farm-to-table idol development (dance, vocals, “team personality”) consistently yields export-ready groups. Global execution: Strong Japan/U.S. strategies (local projects, partnerships), reliable touring, and good conversion from virality to ticket/album sales. Balanced roster: Multiple active groups across gens—mitigates risk and keeps JYP ever-present in the release cycle. Why “label,” not conglomerate: centralized agency model without a platform empire YG and JYP do “label things” — and they’re elite at them: Talent scouting & trainee systems (long pipelines, rigorous dance/vocal/character training) A&R & music production (song selection, producers, concepting, choreography) Group branding & storytelling (visual identity, lore, eras, teasers) Content & MV production (high-impact videos, performance content, variety formats) Release strategy & promotions (comeback playbooks, music shows, media, socials) Touring & live (show design, routing, fanmeets, global circuits) Merch & memberships (fanclub ops, lightsticks, limited drops) Brand/endorsement deals (fashion/beauty/tech, long-term ambassadorships) International partnerships (labels/distributors in JP/US/EU) But they don’t own the ecosystem rails (networks/platforms) — but they consistently field A- and S-tier groups that move tickets, albums, and culture. Hence: “labels, but significant ones.” Bonus If we take all labels outside any conglomerate umbrella, we get YG and JYP as S-tier independent labels—but several others are still significant and deserve mention: CUBE Entertainment: (G)I-DLE RBW: MAMAMOO, Oh My Girl FNC Entertainment: P1Harmony KQ Entertainment: ATEEZ, xikers P NATION: PSY, Baby Don’t Cry THEBLACKLABEL: MEOVV, ALLDAY PROJECT IST Entertainment: The Boyz, Apink SUMMARY Here I’m mapping today’s K-pop structure and defining its BIGs by company type, not just by historic name recognition: Conglomerates vs. labels. To compare fairly, you have to group by what a company is. HYBE belongs with conglomerates (platforms, multi-labels, global distribution), while SM is a label under Kakao’s control—and Kakao, in turn, owns other labels as well (e.g., Starship). Why CJ ENM is in the BIG-3. You can’t exclude CJ ENM because of its infrastructure impact. And if you prefer to count only groups, CJ ENM also fields acts via WAKEONE (e.g., ZEROBASEONE, Kep1er, IZNA). Why YG & JYP = BIG-2 (labels). Among independent labels (i.e., not under a conglomerate umbrella), YG and JYP stand out for top-tier achievements, industry respect, long-term influence, and history—while remaining independent agencies. Hence they’re the BIG-2 labels. submitted by /u/WX628 [link] [comments]

We all know that aespa are already one of the top contenders for some of the most successful and impacting artist in kpop. But I feel like they still haven’t unleashed their full potential and here I just want to add a few things that I feel like SM needs to do in order to take aespa on higher levels. 1. Branding each individual member: I feel like while each aespa member has some sort of style, I can’t help but notice how most of the time the group activities don’t really reflect each member individually. It’s just winter or Karina getting the prettiest dress but that too is so confusing. They just need to find someone who can develop the individual brand of all members while still keeping it complementary to each others. 2. More individual activities: we all know the discrimination of the foreign members but I still don’t understand why companies would do that instead of capitalising over the foreign member’s popularity. All of the members have the ability to stand out so much and grow as an artist. Karina, I feel like is ready to debut as a soloist, worth mentioning the performance of her song up. Winter could easily take up on variety show hosts or might even start her own. She’s an introvert but her awkwardness kinda makes it engaging. Gisela I feel like is a great potential actress. She has that sweet look on her face that I feel like would get her a lot of romantic dramas. Ningning is like the one who’s potential is so under utilised because wdym you have a Chinese member yet aren’t able to profit off of the Chinese market. She’s already very popular in china, getting her acting gigs, ost collabs, and variety shows in china is like such a profitable move. A better full album: I feel like ARMAGEDDON was a pretty underwhelming album. The title track and pre release were PERFECT, but the rest of the album….a huge fumble. They should’ve continued with the sound of SAVAGE for the second half of the album. Like they know the recipe but are just not doing it. So a new album with 14 tracks including an intro like savage and a closing track. Two pre release, first one a hyper ballad like Welcome to my world meets illusion, and then the second one which is like supernova of next level. Then the rollout with mini mv for a few tracks and then the title track. And finally letting them perform live because they clearly can. They are the only one of the few groups with incredible vocalists yet SM isn’t letting them sing live. It would literally solve like half of the hate they get. submitted by /u/Background-Taro9326 [link] [comments]

For me, the third generation is the best of all! ✨ It was the golden age of K-pop — full of legendary groups, striking concepts and songs that still give you that good nostalgia today. Nothing beats the energy and impact this generation had! 💿🔥 submitted by /u/Fun-Diver-6166 [link] [comments]

As the title says. Comment your favourite group but if someone else already commented them, comment your next favourite group that nobody else has said. Feel free to say why! submitted by /u/IzzyBella5725 [link] [comments]

Saw some people doing this and wanted to do it as well! submitted by /u/yskiravol [link] [comments]

submitted by /u/xlov_mother_muti [link] [comments]

I was recently reflecting on my own personal experiences with songs, specifically K-pop, and I realized that I have quite a few songs that I remember hearing at first and absolutely hating them. However as time passed and specific parts of these said hated songs got stuck in my head I found myself really enjoying the song I despised listening to. For example, I was expecting gnarly to be more focused on the “gna-gna-gna-gna gnarly” part that they kept promoting but when the song dropped I struggled to listen to it. After a few listens I realized that I was absolutely vibing to the beat and dancing with my whole heart just hours later. Yet the same thing happened with another song and it took well over a week for me to really begin to enjoy it. Does anyone know why this is? Or does anyone have any songs that took them forever to come to like? submitted by /u/Nightshade_Devine [link] [comments]

I'm a casual listener who mostly watches their music videos. Their debut was very polished with a minimalistic aesthetic. If you compare that to their latest mv or Crazy, the branding took a 180. Their songs are always good and catchy. However, visually there is a noticable shift. I'm curious as to why HYBE took this decision. It's certainly fun for fans and casual listeners like me, but what is their core image? The sultry and confident one or were they always meant to be quirky and fun? submitted by /u/Wooyoungsmole [link] [comments]

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submitted by /u/Freeasacar [link] [comments]

submitted by /u/forwonjihoon [link] [comments]

Shippers ruin friendships between group members,for example 1d,skz,txt etc submitted by /u/BTS_BLACKPINK_CHUU [link] [comments]

Mine is (Ranked): TWICE NMIXX aespa Dreamcatcher LE SSERAFIM submitted by /u/Hungry-Ease-1948 [link] [comments]

submitted by /u/forwonjihoon [link] [comments]

As if non-stans and the GP doomposting about them nonstop for the past three years wasn’t enough, I just saw a YT shorts with over six million views titled something like “ITZY’s Downfall,” which came out just a few weeks ago. The clip compares ITZY to their senior groups, TWICE, Stray Kids, and DAY6 highlighting how well they’re all doing while claiming ITZY hasn’t been relevant in years. At some point, you’d think I’d grown callous to all the negativity, but I guess not, especially considering how I feel writing this right now. I just want these girls to have a killer comeback in a few weeks. Something big with the GP, something that makes people stop doomposting about them for once, and that includes parts of the fandom, too. There’s been so much self-inflicted negativity among MIDZYs about how “bad” their songs have been, constantly begging Division 2 for better material. You’re only feeding the same narrative that others use to tear them down. I get the frustration, I didn’t love every TT either, but please, stop amplifying the idea that they’re failing. Yeah, they may not perform well on the charts as they used to, but they still sold over 400k albums with their recent EP and continue to have a loyal fanbase. Use that love for the group to be more supportive, instead of spiraling into negativity. It hurts to imagine how the girls must feel seeing all those negative posts and videos about themselves. Sometimes I wish the success they had during their debut year came later in their career. Maybe then, people wouldn’t treat their current journey as a “decline,” but rather as a natural part of growth. They’re still out there giving it their all, and they deserve to be supported, not pitied. submitted by /u/Carelessies [link] [comments]