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

[Sooyoung]

Great analysis. The bolded bit is the thing I fear the most. I hope their experimental releases is just a temporary phase that they are using to make us not expect hook songs only from SNSD.

 

Thank you.

 

It is worth noting that YG drove 2NE1 into the ground with the horrific promotional plan (or lack of) for years, limited releases and whatnot. SNSD will never be in a position like that, although, they may experience decline of some sort within the public's eyes due to poor releases.

 

if you ask me Katy perry's song.. i will choose UNCONDITIONLLY OR WIDE AWAKE

 

SNSD will never do songs like that, at least not promoted songs. Girls' Generation are a visual act, through and through. They are not a vocal act or dancing act, but the overall package.

 

yup, you right!

 

by the way, are you agree if SM hire Max Martin, Dr Luke, Cloude Kelly, bonnie Mckee, ect?

they are A LIST PRODUCER

i want more mature shosi

 

I wouldn't be so sure about Claude Kelly, regardless, he is predominantly a song writer rather than a producer, as is Bonnie McKee. Dr Luke, however, is an interesting idea. He has produced some great songs and likewise, some tragically bad songs. In the context of a Dr. Luke/SM (on behalf of SNSD) producing partnership, it would only have a good outcome if SM clearly illicit the type of material they want for SNSD, otherwise, Dr. Luke will serve up an electro-pop track which sounds identical to one of his previous releases.

 

Max Martin is a brilliant potential producer. Without him, we wouldn't have Gee, after all, he is the man that produced "...Baby One More Time", "(You Drive Me) Crazy" and "Oops, I Did It Again", the songs that essentially founded the bubble-gum pop genre. If SM were to continue to release songs within that genre like "Love&Girls", "Girls&Peace" and "My oh My", they should at least go to the person who can create superb pop songs, despite them being inherently bubblegum-pop. 

 

Although, we are doing Max Martin a huge injustice to simply say his producing is limited to bubble-gum pop. His songs like "Overprotected" by Britney Spears have worked as not only great pop tracks but tracks helping to aid an artist's departure from their original sound an image, something SNSD require in Korea as well as straight up of-age pop jams like "Circus" by Britney Spears, "Walking On Air" by Katy Perry amongst hundreds of others. I would advise anyone reading this to look at his songwriting and production discography ( http://en.wikipedia.org/wiki/Max_Martin_production_discography ) and try and pretend like they would have a problem with SNSD working with such an established and experienced, diverse, consistent and quite frankly incredible producer as Max Martin.

 

Capitol? Awesome! katy perry under them

 

and singing song like ROYALS OR SAY SOMETHING!

 

I am not a Katy Perry fan but their management is superb. Kudos to them.

 

I have mentioned this recently actually, SNSD's ballads are of incredibly poor quality and are generally outdated and stale. SM need to really look at modern day ballads. "Stay" by Rihanna, "Royals" by Lorde, "Dope" by Lady Gaga. They are all stripped back heavily, with the focus on the melody, something you can't achieve with a barrage of dated synths.

[Sooyoung]

by the way, GEE produced by Etribe

 

You misinterpreted that. I said Max Martin basically was the producer behind bubblegum pop of the late 90's which is the sound that female girl groups are, even to this day, still using. Without Max Martin, the bubblegum pop sound probably wouldn't have happened, or at least impacted the world the way it did, influencing music markets like that in Korea, thus prompting E-Tribe to create a bubblegum pop song like Gee.

[Sooyoung]

Oh i see. yup, right and i love your analysis

 

but, if the girls want to try ROCK genre.. maybe at least we can forget GREG Kurstin (his discography http://en.wikipedia.org/wiki/Greg_Kurstin_production_discography) or TOBY GAD.

 

for Toby Gad his Ballad song AWESOME! his biggest HITS is Boy's dont cry and If I were a Boy

and he produced Boa song called Touched.

 

and from girls song writer and producer at least dont forget bonny mckee, ali tamposi, ect

 

and the QUESTION IS.. When this happen? the girls have GOOD SONG FROM GOOD MUSICIAN OR PRODUCER

 

I am not a fan of his their work actually. It is successful, yes, but not to my taste. Regardless, they are female K-Pop idol group, even rock influences are out of the question for SM. 

 

I have talked about this a bit already but I want them to pursue a much more urban sound. 

 

Songs like "I'm Out" by Ciara (the video for this quite blatantly rips off Flower Power's), "Cockiness" by Rihanna, "Buttons" by the PussyCat Dolls. Yes, if SNSD released music similar to these, lyrically, they would be vastly different, however, I am not concerned with lyrics and these songs are all public friendly, Western-pop fan friendly and the type of music SM want SNSD to release in Korea but have failed miserably to execute.

[Sooyoung]

But, SM never ever wants to work with A list producer like what i said before.

but, at least they must try Ali Tamposi, she have girl power vibe in her lyrics skill like Stronger by Kelly Clarkson! very HUGE hit song!

 

SM only wants money! that's it!they never ever think ABOUT "GRAMMY" LOL

 

I think in general, SNSD need to find a musical identity and from there, they can (well their producers) work on perfecting their sound.

[Sooyoung]

I don't think the answer to further success is A list producers. Dr Luke is honestly a joke now. I would rather snsd stay far away from his recycled beats; the last good things he produced were ages ago. And as Sooyoung said, they're expensive and knowing SM, they won't spend that much because they like to rake in the money, not spend it and break even and shit. SO, i honestly don't understand why SM isn't properly looking for some reallyy great underground producers that don't charge much and could one day be big. There's so many they could find that are great in their craft and would perhaps be willing to capture something that suits snsd. IMO, for their age, what has suited them best are the heavier beats in the first and second japanese album. Ballads are great too but SNSD's currently are just outdated. Like Sooyoung said again, they need to strip it back and use 9 voices to their advantage. A stripped back ballad with mad harmonizing would be flawless. SM and snsd should like sit down, discuss this shit and their direction and observe the market more.

 

Also, seems everyone is talking katy perry and what not, imo, since perry is really bubble gum disney sounding in contrast to everything else im hearing on radio right now, is there really that great of a contrast between her and snsd lol. I think SNSD should tackle some adrenaline building songs, songs that build up in the end where the instrumental and everything comes together to create epic climax. I wouldn't mind a rock concept for a comeback but my issue with this is that it's just that: a "concept". Not their color. SM should give time to SNSD to release 3 singles in korea before venturing off again so they can test what the public and fans like best and continue their image off of that whilst stepping away from the oppa oppa shit. 

 

In the end though, unless someone from SM is reading this, our opinions are pointless. 

 

Is isn't a discussion about how to further success at all though anyway, this a discussion about what people think of the quality of SNSD's music currently and for those who think it is lacking, what we would want SM to do, no matter how unlikely. But yes, everything you have said is 100% accurate. 

 

I still don't get why SM haven't made any effort at all to contact Stargate though. When the world's biggest production duo whose songs have went #1 on 44 charts and have had their songs go top 10, 178 times across multiple markets, you don't just ignore them and continue working with whatever immature track Dsign Music throw your way. Even just a title track (which would eventually be used as a Japanese track anyway) would ensure that a large amount of profit would be made, never mind break even with the project. 

[Sooyoung]

 

Yahoo! Japan reveals Search Keyword Rankings for 2013

Video Search Ranking

Current Rank/ Previous Rank

 

01/(NEW) – Shingeki no Kyojin

02/(01) – AKB48

03/(02) – Arashi

04/(NEW) – Puzzle & Dragons

05/(07) – Crayon Shin-chan

06/(05) – One Piece

07/(11) – Doraemon

08/(12) – Anpanman

09/(NEW) – Monster Hunter 4

10/(9) – Momoiro Clover Z

11/(NEW) – Minecraft

12/(03) – Kis-My-Ft2

13/(NEW) –Hanzawa Naoki

14/(NEW) – Amachan

15/(NEW) – Dan Mitsu

16/(NEW) – Mario

17/(13) – Pokemon

18/(NEW) – Kyary Pamyu Pamyu

19/(08) – Kanjani8

20/(04) – Shojo Jidai

 

 

Women Ranking

Current Rank/ Previous Rank

 

01/(01) – AKB48

02/(02) – Dan Mitsu

03/(04) – Oshima Yuko (AKB48)

04/(06) – Momoiro Clover Z

05/(03) – Nouen Rena

06/(11) – Maeda Atsuko

07/(09) – Rinka

08/(16) – Kyary Pamyu Pamyu

09/(__) – Shinoda Mariko

10/(07) – Shojo Jidai

 

http://aramatheydidnt.livejournal.com/5141148.html#cutid1

 

 

 

 

Has this been posted yet? I found it quite interesting and surprising. Although we can tell the girls have slipped slightly in popularity in Japan (KPOP in general), there's still a strong interest about them (which is great to see!)

 

I don't think they've done too bad considering that they've hardly performed their JP singles on TV this year.

 

 

Not one televised TV performance in Japan since last November yet the 10th most searched female act? 

 

The undeniable impact. 

[Sooyoung]

Yeah, I think the tour helped! I'm so anxious for the JP album, I hope it slays.

 

It was an incredibly modest tour so I doubt it had that much of an impact.

 

As for the Japanese album, I have little hope for it. We have heard half of it already and that half, the half being used to promote and ignite interest in the album has been poor. Hopefully SM prove me wrong though.

 

 

Not one televised TV performance in Japan since last November yet the 10th most searched female act? 

 

The undeniable impact.

 

 

Let's spam tweet Lady Gaga before her MusicStation performance to make her stop halfway and denounce the discriminatory actions of the Japanese media. 

[Sooyoung]

I thought they had at least an equivalent appeal as SJJD to the Japanese? No?

 

DMN isn't lying, KARA have always been second to SNSD in Japan, even though there where times when it was only just.

[Sooyoung]

Lemme' do this tomorrow, Qui!

 

Judging you and anyone else who doesn't include "The Great Escape" (the apex of their discography, the EDM-pioneering, the musical death of their purile back catalogue, no matter how short lived, the song that saw them dawn those spectacular black catsuits) as one of their favourite songs though!

 

#JusticeForTheGreatEscape

Edited November 28, 2013 by Sooyoung

[Sooyoung]

Yuri's "wet legs thighs"

 

 

 

I really don't think this is necessary.

[Sooyoung]

Seeing as people seemed interested in the last discussion, here is another area I think people should consider!

 

So, what do people think SNSD should be doing next in their careers? Do you think SM is managing them effectively and helping them to achieve the heights they are capable of?

[Sooyoung]

If SM can do this for them in South Korea and finally take the plunge with an English effort, then my faith will be restored with them...right now, im not overly impressed with how they are handling the girls but we shall wait and see how 2014 goes!

As for SM, egads. I've defended them all this while, always saying that whatever's in store for us is worthwhile. But I've just about had it with 'em. They're complacent now. 

SM doesn't try anymore when it comes to SNSD.

I'm honestly hoping for them to develop some musicianship, personally involve in their musical direction & production

 

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.

Edited November 29, 2013 by Sooyoung

[Sooyoung]

+1

 

Do you mind if I take this out and share it on Twitter?

No, not at all! I'm glad you like it!

[Sooyoung]

Iconic post. This would 100% propel SNSD into legendary popularity

 

Thank you! Maybe it would, maybe it wouldn't!

 

The only thing we know is with SM's rigid management, they aren't going to go any further. Yes, they are in a great place with sustained popularity, at least in Korea but why settle when you are working with a band/brand that has the potential to be MASSIVE. 

[Sooyoung]

This is such a great post, but it's also making me depressed as it will never happen. SNSD has (or had) so much potential and to see it get so wasted bums me out.

A lot of it isn't rocket science though, it just requires some business savvy, risk interpretation and an understanding of music industries. By now, we would all like to think these are things SM have mastered but time and time again, SM prove us wrong.

[Sooyoung]

When you aren't trolling and being a ass, your posts are actually well written and thought out.

Hahaha, thank you.

 

For what it is worth, the core points remain almost identical: poor A&R and poor management, it was just difficult to get through the hyperbolic tripe and aggressive responses.

 

I'm glad my more earnestly written opinions are resonating with people though!

[Sooyoung]

This post needs to spread like wildfire. I know that just before i said all this is useless because SM will never read this but i dont give two shits this needs to somehow get to ANYONE in relation to SM because it is the truest and greatest damn posts in this thread. In fact, pleaase make it it's own thread or it will be lost in the thousands of pages here. It should spread between sones on twitter, even it's own thread in other places/site/fansites or whatever because even if only SOME of these ideas are taken on board, it will make a massive difference. 

Fans and nonfans alike like to say that "once you're at the top there's no where to go but down" about SNSD. But i never thought they reached the top yet. This post proves that right, they can make it so much bigger, SM just needs to somehow see this or anything like this and take the ideas on board ASAP. A S AAAPP. spread this people! Possibly the year after the next these ideas would be carried out since next year is probably already planned.

 

Thank you! But yes, SM are working with an already profitable brand and because they are so stuck in their rudimentary ways, they can't see help them achieve anymore. 

[Sooyoung]

Only better than most? That song could have been the best SNSD song in the past 2 years.

 

FLOWER POWER, Paparazzi, Animal, and dare I say it, IGAB (without the Taeyeon, Tiffany segment near the end) are all great.

 

Is entering the Chinese music market hard?

And if they do enter, would they make more money over there or Japan?

 

No, not really.

 

Digital piracy is rife in China though with no governmental regulations or measures taken by ISP's to lesson it. However, with a population of one billion and its music industry becoming of increasing importance, having some form of effort to promote there would be financial profitable, mainly through touring.

Edited November 30, 2013 by Sooyoung

[Sooyoung]

Yeah, China along with Southeast Asia have a group of high spending middle-class who are willing to pay for luxury items such as concerts etc. SNSD has a very strong presence in the latter so China is a good place to focus on next due to its potential. Jessibo is paving the way.

 

Basically. I think a Chinese release, even if made up of already released songs like Animal etc. would be a good starting point for SNSD in China. It would at least give them something to work with, even if it wouldn't sell much because of the state of the Chinese music industry. 

[Sooyoung]

Only go to China for CFs, concerts or acting jobs.

 

A minor advancement could secure CF's and would definitely strengthen their chances of a reasonably sized Chinese leg though. Touring is where the real money is, after all.

[Sooyoung]

What do people think about the way SM go about getting songs for SNSD? Are they looking in the right places? 

 

Currently, they get a lot of SNSD's title tracks from production teams like Dsign music (the iconic Genie, the jarring yet iconic I Got A Boy, the regressive b-side Beep Beep and the single that never should have been, Love & Girls). 

 

Are they going to the wrong place for this music?

 

Personally, I think they should be scouring the internet for underground producers. Comparatively, to purchase the rights of a song from a production team as established in the Asian markets is expensive whereas underground producers are experts in their craft, generally lacking opportunities to create songs for large artists and to sell their music to profitable labels. 

 

These underground producers create mix tapes, filled purely with instrumentals, carefully crafted over months. This is where SM should be going. These producers are often poor and eager to create, produce and sell music and the rights to their production to anyone as a way of gaining status and interest in their material. I have previously proposed that SM work with Danja (Gimme' More by Britney Spears among many of the tracks on her highly critically acclaimed album Blackout). Although I stand by this, he charges between $50,000 to $100,000 for the rights to tracks produced by him. To purchase the rights to tracks from an underground producer, potentially of equal or better quality, can be anything below $10,000. 

 

Additionally, from an ethical perspective, SM tend to purchase tracks from these established production teams, intended on writing tracks to produce hits to get maximum profit. The faceless, sterile, nature of this focuses little on the organic production of music for the love of it, whereas the business, commercially profitable nature of the industry is laced throughout this. Therefore, by giving unknown producers, working off little money, simply producing for the love of it, the chances to produce for SNSD both enables them to be given opportunities they would otherwise never get as well as give SNSD more organically created music.

 

Additionally, SNSD's Korean albums are filled to the brim with badly produced, stale ballads and mid-tempos from 2008. Therefore, through use of underground producers, SNSD can release albums which stand for themselves as a full, well produced, high quality body of work, as opposed to a physical release of one single with what are, nine to ten b-sides. This crucially, from a business stand point, is viable, requiring little money to purchase the tracks, easily enabling the quality of SNSD's Korean albums to excel to new heights.

 

Finally, the whole nature of the underground music scene needs to be considered. Mainstream trends in music originate from sounds and styles utilised in the underground music scene. What we hear in music is what transcends the commercial ladder successfully, just like how electro-pop did in the early/mid 2000's, dub step in latter years etc. To go straight to the source of this music is what would allow SNSD to pioneer new sounds as opposed to following trends in music. A group of SNSD's status should be doing more than just introducing visual styles but also musical sounds. 

 

SM, the most tentative, delayed label in Korea are forever keen to ensure SNSD's albums doesn't stray too far from their initial sound, especially given that the style of music in question is what ALLEGEDLY resonates best with their Korean fan base and the public. Therefore, to at least phase this style of A&R into their management would allow for SNSD to make the transition from, in regards to quality, singles artists to album artists, along with their fan base as to ensure that they aren't alienated.

 

Take songs like this: well produced by an underground producer, versatile enough to apply lyrics and vocals to, and most importantly, trendy, cool, unique. 

 

 

 

(Lone - Pinapple Crush) - This was since purchased by Azealia Banks and is now titled Liquorice. This type of A&R is what SM need to pursue for SNSD.

 

What do people think? Do you agree with this?

[Sooyoung]

snsd - gossip girls (가십 걸스) (japan 3rd album song #1) (radio premiere record preview)

http://cfile26.uf.tistory.com/media/2170543B529B63191905A6

 

This should have been what the 2nd Japanese album should have sounded like along with Flower Power, Paparazzi, Animal, Reflection, All My Love Is For You, Galaxy Supernova etc.

[Sooyoung]

by the way, how do you know their range?

 

but, at least SM should try work with Taylor Swift LOL

 

Danja's is general knowledge in the industry. He is an established producer so based on that figure, we can estimate the cost of tracks from unknown producers.

[Sooyoung]

 

do you agree if SM should try works with Taylor Swift?

 

hahahaha!!!   coz, it will be interesting

 

Why would they?

 

Taylor Swift's music is only as good as the producers she works with anyway. Why not invest in some good tracks by producers than lure a 20-something who releases juvenile music onto a track?

[Sooyoung]

What sounds are people actually wanting SNSD to pursue? A lot of you judge the material upon arrival which is interesting to read but, what sounds do you want the girls to pursue or dabble in on their next album?

 

Seeing as their Korean and Japanese albums are now sonically equal in regards to the genres adopted and the execution of these, the above question is applicable to both Korean and Japanese releases.