Disclaimer: As with my write-ups on K-Pop’s biggest agencies, this is written from an outsider’s perspective. I’m not privy to any business-related financial information beyond what any other fan would know. The purpose of these articles is to examine how well these agencies are serving their artists and the general k-pop fan-base. If you’re curious … Continue reading
Disclaimer: As with my write-ups on K-Pop’s biggest agencies, this is written from an outsider’s perspective. I’m not privy to any business-related financial information beyond what any other fan would know. The purpose of these articles is to examine how well these agencies are serving their artists and the general k-pop fan-base. If you’re curious … Continue reading
I’ve already offered my thoughts on the 2019 prospects of SM Entertainment, YG Entertainment and JYP Entertainment, but this year I’m adding a new agency to the fray. Big Hit Entertainment‘s achievements more than qualify them for the full-article analysis, so here we go! As usual, the thoughts are my own and aren’t privy to any … Continue reading
After taking a look at SM Entertainment and YG Entertainment earlier in the week, it’s time to move onto another of K-Pop’s leading agencies: JYP Entertainment. As usual, the thoughts are my own and aren’t privy to any insider information. I’m not taking into account things like profits and stock value. The purpose of these … Continue reading
After taking a look at SM Entertainment over the long weekend, it’s time to move onto an agency with very different activity in 2019. Prepare yourselves, friends. It’s YG Entertainment. As usual, the thoughts are my own and aren’t privy to any insider information. I’m not taking into account things like profits and stock value. … Continue reading
It’s that time of year again! Over the next few weeks, I’ll be looking at many of K-pop’s biggest agencies and offering my thoughts about how their 2019 went. First up is SM Entertainment. As usual, the thoughts are my own and aren’t privy to any insider information. I’m not taking into account things like … Continue reading
Disclaimer: As with my write-ups on the Big Three agencies, this is written from an outsider’s perspective. I’m not privy to any business-related financial information beyond what any other fan would know. The purpose of these articles is to examine how well these agencies are serving their artists and the general k-pop fan-base. Before you … Continue reading
Disclaimer: As with my write-ups on the Big Three agencies, this is written from an outsider’s perspective. I’m not privy to any business-related financial information beyond what any other fan would know. The purpose of these articles is to examine how well these agencies are serving their artists and the general k-pop fan-base. If you’re … Continue reading
In what has become an annual tradition, it’s time to take a look at K-pop’s biggest agencies and offer my 2018 verdict. Last weekend, I looked at SM Entertainment and YG Entertainment, and now it’s time to complete the “big three” with JYP Entertainment. As usual, the thoughts are my own and aren’t privy to any … Continue reading
In what has become an annual tradition, it’s time to take a look at K-pop’s biggest agencies and offer my 2018 verdict. After yesterday’s focus on SM Entertainment, it’s time to move onto YG Entertainment. As usual, the thoughts are my own and aren’t privy to any insider information. I’m not taking into account things … Continue reading
In what has become an annual tradition, it’s time to take a look at K-pop’s biggest agencies and offer my 2018 verdict. First up is SM Entertainment. As usual, the thoughts are my own and aren’t privy to any insider information. I’m not taking into account things like profits and stock value. The purpose of … Continue reading
The idea of music agency fandom might seem strange to Western audiences, as most notable labels around the world are vast corporations with rosters that share very little common. But of course, K-pop is different. Even as the industry has expanded, it has remained a relatively small microcosm of the global pop music landscape. When … Continue reading
Disclaimer: As with my write-ups on the Big Three agencies, this is written from an outsider’s perspective. I’m not privy to any business-related financial information beyond what any other fan would know. The purpose of these articles is to examine how well these agencies are serving their artists and the general k-pop fan-base. Read Part … Continue reading
Disclaimer: As with my write-ups on the Big Three agencies, this is written from an outsider’s perspective. I’m not privy to any business-related financial information beyond what any other fan would know. The purpose of these articles is to examine how well these agencies are serving their artists and the general k-pop fan-base. Big Hit … Continue reading
Late last year, I took a look at the “big three” k-pop agencies and offered my thoughts about how they were doing in 2016. Now that a year has passed, it’s the perfect time for a second evaluation. As with 2016’s review, this is written from an outsider’s perspective. I’m not privy to any business-related … Continue reading
Late last year, I took a look at the “big three” k-pop agencies and offered my thoughts about how they were doing in 2016. Now that a year has passed, it’s the perfect time for a second evaluation. As with 2016’s review, this is written from an outsider’s perspective. I’m not privy to any business-related … Continue reading
Late last year, I took a look at the “big three” k-pop agencies and offered my thoughts about how they were doing in 2016. Now that a year has passed, it’s the perfect time for a second evaluation. As with 2016’s review, this is written from an outsider’s perspective. I’m not privy to any business-related … Continue reading
K-Pop is an agency-driven genre, meaning that what gets put into the market is often expertly crafted by a team of individuals and hoisted upon a group/artist who then takes it to the next level with their talent and charisma. This doesn’t necessarily take art out of the equation, but it does create an environment … Continue reading
K-Pop is an agency-driven genre, meaning that what gets put into the market is often expertly crafted by a team of individuals and hoisted upon a group/artist who then takes it to the next level with their talent and charisma. This doesn’t necessarily take art out of the equation, but it does create an environment … Continue reading
K-Pop is an agency-driven genre, meaning that what gets put into the market is often expertly crafted by a team of individuals and hoisted upon a group/artist who then takes it to the next level with their talent and charisma. This doesn’t necessarily take art out of the equation, but it does create an environment … Continue reading
