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♥ Right Now, Tomorrow, Forever, 소녀시대 ♥ The Official Girls' Generation (SNSD) Thread

Yuri

By Yuri
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  1. 1. Favorite SNSD Member

    • Seohyun
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    • Hyoyeon
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    • Tiffany
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    • Jessica
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    • Taeyeon
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Yuri
Yuri

DYSEQTA
DYSEQTA

Can't say I agree. The version with Jessica just reinforced for me that SNSD without Jesssica's unique vocal timbre just isn't right. Jessica may not have been the main vocal but her voice is key in d

MoshiMoshi
MoshiMoshi

This.   Gonna rant for a second so feel free to skip.   The most frustrating thing to me is that SM never seems to learn. Either that or they just don't care. The fact that SNSD has been able to s

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Ridesy Star

Ridesy

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Girls' Generation - SHY is coming, eonnis!

 

TTS, hew?

 

Ot9, hew?

 

LaToya.gif

With SM giving SJ-D&E a comeback (probably and most likely) maybe they'll remember that they said there would be more than one SNSD subunit and give us the most demanded musical act of the century! 

 

T9iot.gif

Edited by Ridesy
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Ridesy Star

Ridesy

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I'd like an urban comeback from SNSD but I have a feeling SM will make their next comeback pretty safe. There is only so much the public can take of "strange" (for lack of a better word) before they just straight up stop buying it. I actually do like The Boys but it's pretty eh and I can see why it's only successful because of SNSDs name and we all know the deal with IGAB. An urban track with a repetitive chorus might work since we know that even in 2013, Koreans lose their shit over songs like that.

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Ridesy Star

Ridesy

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MANAGEMENT IN KOREA

 

First of all, one of the major problems with SM's management is their willingness to accept the format of releases and promotion in Korea. Korea's release schedule is incredibly primitive. The 'release one single from an album on the same day as the album release day and then promote' it format just doesn't work. By SM using it for SNSD, it perpetuates the Korean mindset that only the promoted song needs to be of significant quality while the album as a body of work is irrelevant, a problem clearly evidenced by the lack of quality of SNSD's Korean discography, outside of singles.

 

SNSD are by far the biggest phenomenon of the Hallyu wave, their sales in their peak in Japan and their YouTube views are testament to that. However, the fact that SNSD as a musical group, notoriously known in Korea for songs laced with hooks and a softer, generally inoffensive image will end up having (this is a prediction) the 13th most downloaded song in Korea for 2013 with I Got A Boy, arguably the most jarring, abrasive, abstract, polarising commercial pop release in the world this year is simply highlighting their massive power in Korea.

 

With this in mind, why do SNSD have to follow the trends set for them? If any group is going to finally stop following the release schedule and the promotional plans that pre-date TVXQ, one of the oldest active groups in Korea, why shouldn't it be SNSD? Why should SNSD be treated tentatively from a managerial perspective, especially when they are clearly the most influential group of our generation in Korea? It is about time SNSD set the trends for the Korean industry instead of following them. 

 

SM just need to look at the nature of the Japanese and Western release schedules. An album is released, following the release of multiple singles, often 2 in the West, 3 in Japan. What this is intended to do is to interest buyers. What better way to make someone purchase an album than give them an indication of what they are buying prior to release? Furthermore, this also increases interest and hype in further material and the body of work through typical promotion. YG has caught onto this somewhat, however, no group is in a better position than SNSD to experiment with their releases to such a large extent. In K-Pop, especially with SNSD, the album and single are released simultaneously and no more is heard from the album, leaving the album to die with any success generally being short lived.

 

Therefore, I think SM should experiment with SNSD. I don't need to reiterate why I believe SNSD should do this either. Drawing inspiration from the Western release schedule, my own opinions on how to release this are as follows:

 

Two weeks prior to the official start of the era, a promotional blackout would begin. Two weeks isn't a long time but, for SNSD in Korea where a member is on TV at least every night, it is. This means no hosting on TV shows, organise the girls to do projects like dramas which will have ended in time, no sitings outside SM, in Korea or in Japan, no adverts for their perfume on TV, no tweets, instagram pictures etc. 

 

Week 1 - Initial announcement 

 

The announcement of the single, accompanied by artwork allows for the hype machine to begin as no project can get off the ground without people talking and interest building. 

 

Week 2 - Nothing *ties in with Japanese promotion described below

 

Week 3 - Release of single 1, accompanied by video teaser. A week of promotion, including music shows.

 

Any SNSD single will automatically top the Korean music site charts. Therefore, to release everything at once is a massive mistake, ensuring the longevity of the song is destroyed. However, the Korean music industry is impulsive. Songs are heavily front-loaded, longevity is rarely seen, and to deviate from this and to not cater to a buying trend as prevalent as this would also be a massive mistake. Therefore, a music video teaser would be released, giving some accompanying visuals as to ensure some form of immediacy is given, this could be released possibly during the end of the week, sustaining momentum. Promotion will also ensue, following the typical format including music shows. 

 

Week 4 - Final week of promotion, including music shows.

 

One more week of music shows would follow. These are not important, having very low ratings and of little benefit to sales, additionally, SNSD have won countless music show awards. These are practically meaningless and nothing more than ammunition in stan fights. 

 

Week 5 - Release of music video.

 

This is where the promotional method deviates the most. SM are the most powerful entertainment company in Korea, therefore, despite this seeming unusual to many of you, they should attempt a televised music video release. Promotion of musicians is trying to sell a product to as many people as possible. Why should the accompanying visuals be any different. By using their weight and the power of SNSD's name, a prime time slot, although hard to achieve, isn't off the cards would be ideal. A half an hour show at say, 10 o'clock on a Friday evening, containing a brief interview, behind the scenes of the video recording, maybe some footage of dance practise for the song and the creation of it in the studio, before concluding with the release of the music video would not only be massively different but superb for reaching the masses with both the music and visuals of the SNSD lead single. Following this, promotion for the lead single will end.

 

Week 6 - nothing - a second promotional blackout would also be in place until the release of the second single to music sites in Korea aside from week 9's plan. 

 

Week 7 - nothing

 

Week 8 - nothing

 

Week 9 - Announcement of album and the second single. Artwork, teaser images, released by the girls themselves though their SNS accounts (Twitter, instagram, Weibo, the Girls' Generation Facebook etc) 

 

Through inclusion of the girls in the announcement, this adds a personal dimension to the album release, instead of through the cold hearted, clinical announcement of an album by a label to the media. Also, because of the nature of the SNSD Korean fan base, if the girls where to release each others teasers, (Seohyun tweeting Hyoyeon's teaser, Taeyeon posting Sooyoung's on instagram), Korean fans would go mad (OT9 and all that, right), further including the girls in the actual hype building. This could also help create an illusion that SNSD are more heavily involved in their careers, slowly helping them break away from the idol tag, constantly following them. This in itself, even with minor success, would also fulfil the girls longing to be taken seriously. Baby steps, after all.

 

Week 10 - This week would be spent doing interview based promotion. Teaser of second single music video released.

 

I am not sure of what the biggest interview based show is in Korea but that would be an ideal place to release a teaser for the second single's music video and would help promote the song. This can help focus on the girls on a personal level, reinvigorate interest in them as individuals, something that can be drowned out when 9 lively 20-something year olds are promoting together.

 

Week 11 - Release of the second single. Promotion of the second single would begin (no music program performances)

 

Second single released at midnight. This would follow the same format as week three except without music show comebacks.

 

Week 12 - Release of the music video. Comeback stages. TV adverts for album release.

 

The music video would be released onto Youtube and typical Korean formats (I am unaware of these). The music show comebacks would begin. The first single, second single (for which the comeback is for) and an additional song would be performed. However, for each of the three music shows, a different 'additional' song should be performed. This will get fans hyped for the album release.

 

Week 13 - Release of the album. Music program performances continue

 

The album released should be promoted as well, this being done through live streaming events, a show dedicated to comeback release like that of "Romantic Fantasy", although this would be done at an earlier time as to ensure better ratings. A carefully planned show would be required featuring interviews, behind the scenes clips, a performance of the two singles and the third one, intended to be released at a future date. This would be hosted by an esteemed entertainment veteran with the inclusion of say an acoustic version of a song on the album but performed entirely by Taeyeon with a special guest, preferably a high profile Korean singer as well as guest cameos by maybe a Big Bang member like GD (purely for ratings) or EXO (purely for ratings). 

 

The album itself should be sold in a similar fashion to "Born This Way" by Lady Gaga was in the US; sold in a variety of stores alongside traditional, this could include clothing stores where SNSD have endorsement deals, pop up stores etc.  Furthermore, a potential fan meet, ticket distributed through special edition albums, could also help improve sales. I generally find these Japanese-esque gimmicks tacky, although pulled out in a sensible manner, it can seem dignified as opposed to a profit thirsty managerial decision.

 

Week 14 - Music program performances conclude. 

 

Maybe two months later, an additional music video would be released for a third single. This will be an unglamorous release, simply uploaded to video hosting sites. A week of music show performances would follow.

 

A fourth and final single would be released two months after that, this would be a music video, composed of tour shots, behind the scenes of a tour etc, in the same vein as the "Cheers (Drink To That)" video by Rihanna. 

 

MANAGEMENT IN JAPAN.

 

Some of you may notice that that only involves 13 weeks. That is three months leaving 9 months of the year free for other promotion. However, I am surprised that SM hasn't started dual releases. To obtain rights to a song costs money so, why buy the rights to multiple songs or hire producers when the same track can be released in multiple markets. 

 

Therefore, I think it would be wise to have a dual album release for Korea and Japan. The single releasing structure is different than the one I proposed SNSD implement in Korea so there would be some noticable differences. Japanese albums are promoted by 3 singles. The first two singles would be new singles and the third and final single would be a Japanese version of the first Korean single. It would be announced at the same time and the song and the music video would be released at the same time as the Korean song. This would have a different music video. 

 

Finally, the Japanese album would be released at the same time. Seeing as promotion in Japan is becoming increasingly difficult for SNSD, this would therefore not be too strenuous for the girls, compared to normal comeback conditions. This would be composed of similar material to the Korean album, although with enough differences for both Japanese and Korean fans to want to purchase the alternative language copy too. 

 

CHINA & THE WEST

 

Additionally, I think SNSD should enter the Chinese and Western markets. A Chinese release would be composed of one single and the album release. The first single would be a Chinese version of the first Korean single and follow the first single release in Korea, additionally the album release would mimic the release dates of the Korean album.

 

The Chinese market is a mess. It is rife with illegal downloading and any releases in China would fail to make a substantial profit. That is why the same material as that for the Korean album would be used, likewise, the music videos would be identical to their Korean counterparts, much like The Boys Korean and English version where. However, while CD sales would not create profit, touring will. Big Bang have sold out 3 arenas in China, each with a capacity of 18,000. Therefore, with some Chinese promotion, preferably high profile, they would further secure touring success in China, an important and developing market. With Chinese material coupled with promotion, they would likely sell out the same venues as Big Bang, twice over. That is a potential for 100,000 tickets sold = massive profit.

 

Finally in the west, English versions of select songs would be released. This would include Youaholic, Let It Rain, Paparazzi, Animal, Reflection etc to formulate an English album. This would not be promoted on TV or released to radio, although, this would be good for touring. It should be noted that English language songs are much more universally accepted throughout the world, especially in South America and parts of Asia. Therefore, this could enable SNSD to promote in some minor music markets like those in South America and South East Asia, securing more fans and widening the breadth of an SNSD tour.

 

Some nice touches would be the iTunes, song of the day, a free song released on iTunes every day. A few songs, added to Top 40 radio wouldn't hurt either.

 

(Finally) TOURING

 

SNSD's tours have always been incredibly tentative. SNSD are the biggest Korean act (arguable equal with Big Bang and within Asia, Super Junior). There tours are not only low quality productions, that being an issue for another time, but largely underestimations of SNSD's popularity. Through careful planning, promotion and releases, SNSD are capable of executing a massive world tour, travelling four continents, 18 countries with a possibility of tour with as many as 50 individual concerts. What they need is a world tour promoter, like that of LiveNation. Additionally, with sponsorship like that of Samsung for Big Bang's Alive tour, they can have a production to match and exceed that standard of other world tours. I drew up a tour worthy of SNSD.

 

 

 

 

*Note that the stadium ticket sizes is without staging. With a full production, some of these venues could lose as many seats as 2,000-4,000.

 

Japanese Leg - Part 1:

 

(With some precautions (Concerts at weekends, reasonably priced tickets, ticket schemes through Japanese singles and albums, these would definitely sell.) (Leg one is a similar size to the second Japanese Arena tour of 2013 so would likely be able to sell.)

 

Kobe World Kinen Hall (8,000)

Kobe World Kinen Hall (8,000)

 

Saitama Super Arena - Stadium Mode (37,000)

Saitama Super Arena - Stadium Mode (37,000)

 

Nippon Gaishi Hall (10,000)

Nippon Gaishi Hall (10,000)

 

Osaka-jÅ Hall (14,000)

Osaka-jÅ Hall (14,000)

 

Hiroshima Green Arena (10,000)

Hiroshima Green Arena (10,000)

 

Marine Messe Fukuoka (10,000)

Marine Messe Fukuoka (10,000)

 

Total Tickets sold - 180,000

 

Chinese Leg:

 

Coupled with a Chinese release, some promotion and once again fairly priced tickets and enough time before concert for fans to organise funds, these would be able to sell out. Big Bang has been able to sell 

 

Shanghai - Mercedes-Benz Arena (18,000)

 

Beijing - MasterCard Center (18,000)

Beijing - MasterCard Center (18,000)

 

Guangzhou - Guangzhou International Sports Arena - (18,000)

 

Total Ticket sold - 72,000

 

Asian Leg:

 

This would be quite risky in size, although, SNSD have been able to sell out many of these venue before. Light promotion of English songs on some TV shows in some of these countries may aid promotion. Many of their peers have been able to execute tours of this size in Asia though, notably Big Bang and Super Junior.

 

South Korea - Seoul World Cup Stadium (50,000)

 

Taiwan - Taipei Arena (15,000)

Taiwan - Taipei Arena (15,000)

 

Indonesia - Mata Elang International Stadium (20,000)

Indonesia - Mata Elang International Stadium (20,000)

 

Singapore - Singapore Indoor Stadium (12,000)

Singapore - Singapore Indoor Stadium (12,000)

 

Hong Kong - AsiaWorld–Arena (15,000)

Hong Kong - AsiaWorld–Arena (15,000)

 

Thailand - Impact Arena (12,000)

 

Philippines - SM Mall of Asia Arena (20,000)

 

Malaysia - Putra Indoor Stadium (9,000)

 

Macua - CotaiArena (15,000)

 

Total tickets sold - 206,000

 

European Leg:

 

This should be advertised as SNSD & SMTown (f(x), that SuJu subunit, Henry and EXO-M would be guests) - this would have a shorter setlist, a few performances from the rest (the Henry, Yuri Hyo performance, Jungsis etc)

 

UK - O2 Arena (20,000) - Big Bang were able to sell out the Wembley Arena twice, seating around 12,000 = 24,000 tickets. Therefore, SNSD should be able to sell it out too. However, a concert of this size would have massive publicity in Asia, by recording this tour date, taking up space with recording equipment, inviting Interscope label heads (as a mark of courtesy, even if SNSD were dropped by Interscope), having elaborate staging could potentially reduce the size of the arena to a 16,000 seater, a much more achievable figure to sell out. 

 

France - Zénith de Paris (6,000) - Super Junior have sold out this venue, with the additional support acts for this tour, SNSD should be able to sell this out too.

 

Total tickets sold - 26,000

 

American Leg:

 

This should be advertised as SNSD & SMTown (f(x), that SuJu subunit, Henry and EXO-M would be guests) - this would have a shorter setlist, a few performances from the rest (the Henry, Yuri Hyo performance, Jungsis etc)

 

New York - Madison Square Garden - (20,000) (The emphasis on SMTOWN would help sell this out, was done before in 2011)

 

Los Angles - Staples Centre - (20,000) (The emphasis on SMTOWN would help sell this out, was done before in 2010)

 

Brazil - São Paulo - Credicard Hall - (6,000)

 

Argentina - Buenos Aires - Luna Park - (8,000)

 

Chile - Santiago - Movistar Arena - (15,000)

 

Peru - Lima Jockey Club del Perú - (20,000)

 

*SUJU sold out all these South American dates so SNSD & Friend will too.

 

Total Tickets Sold - 89,000

 

Japanese Leg - 2

 

In light of recent developments in Japan, this may be hard to achieve but personally, with enough gimmicks and whatnot, SNSD could sell these out.

 

Osaka Dome - (50,000)

Osaka Dome - (50,000)

 

Tokyo Dome - (42,000)

Tokyo Dome - (42,000)

Tokyo Dome - (42,000)

 

Fukuoka Dome - (40,000)

Fukuoka Dome - (40,000)

 

Sapporo Dome - (40,000)

 

Nagoya Dome - (40,000)

Nagoya Dome - (40,000)

 

Total Tickets Sold - 426,000

 

Homecoming Leg:

 

South Korea - Olympic Gymnastics Arena (15,000)

South Korea - Olympic Gymnastics Arena (15,000)

 

South Korea - Seoul Olympic Stadium (70,000) *This should be a special free concert used to be like yay Korea etc.

 

Total Tickets Sold - 100,000

 

Overall:

 

Dates: 50

Countries: 18

Continents: 4

Total Tickets for sale: 1,099,000

Profit estimate: $100,000,000(?)

 

This would be the biggest tour ever by a Korean act - building legacy, making bank, slaying everyone etc.

 

 

Basically, SNSD are capable of so much, the world is their oyster but SM's dated, risk-free, quick fix money grab attitude is holding SNSD back. They have the potential to be legends in Korea on an unprecedented scale. At this point in their career, they should be setting the trends, defining standards of quality of music, visuals and concerts, renowned for their skill, abilities and talents, achieving new milestones in sales of CD's, digital tracks and concerts.

 

It is time for SNSD to transcend their perpetual it-girl status of Korea and finally become legends.

 

 

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Edited by Ridesy
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