Category Archives: traffic stats

How are things going?


Obviously, I lovelovelove “Shall We Dance,” but now’s the time for me to get all cold and analytical. And the fact is that the song isn’t sweeping the charts in Korea or anything–it’s not doing horribly on the daily charts, but it’s not doing fantastic, either.

And that’s kind of how things are elsewhere.‘s traffic looks like this:

That’s 322 visitors–less than “Toy,” but more than “H.E.R.” (I didn’t actually write down the number of visitors for “Yesterday“–oops! ETA: It’s 406 views! Improved Web analytics FTW!) The international iTunes charts look OK, including their first appearance on the UK charts (where is Finland, though?), but not as high as “Toy.”

But of course “Shall We Dance” and “Toy” are completely different songs, and I think that’s pretty much the issue–when you switch up a sound, the people who liked your old sound may not like your new one, and the people who would like your new sound don’t yet know you exist. So it can take some time to find an audience.

There’s definitely some good news–Billboard gave a really nice write-up, and we’re at 1.7 million YouTube views a day-and-a-half in, which is quite good. Block B is going to do music shows, and while I obviously hate the whole trophy business with the fire of a thousand suns, appearing on the shows does have promotional value.

And of course they probably felt like they could take a risk with their lead single because they already made bank using “My Zone” for an LG endorsement. It’s also simply not that important these days that every Block B release be a huge hit, because they’re so much more diversified with all the solo activities and everything going on in Japan. They also reportedly have two concerts in Korea coming up that will be in an 11,000-seat stadium, and there’s always the old-school method of having a thousand fan signings to sell CDs, so, yeah–they have whole a lot of avenues through which they can drum up revenues. They’re not going to die if the Korean market never really warms to “Shall We Dance.”


Odd bits


I’m traveling, so I’m updating when I can (which, come to think of it, is also what I do when I’m not traveling).

And of course I’m being presented with some weird quandary that I’m maybe not in a good position to evaluate: Zico’s making a university appearance. I’m never quite sure what to do with those things–I used to err on the side of putting pretty much any appearance on the schedule page just to let fans know that the group was working. But now that they’re so successful, I tend not to so much because I think (but am never quite sure) that university appearances are supposed to be limited to students. The same thing has happened with fan-only events, or album signings, or ones where you have to do 47 different things to maybe win a chance to see the group–if stuff is supposed to be limited to a certain audience (other than: people who bought tickets), I feel like putting it up could even cause trouble because people who aren’t supposed to be there could just show up. So that’s my logic right now, in case you were just DYING to know,

And this is kind of interesting: Two of the Korean fan photographers are going to be doing some kind of exhibition. I just want to throw that out there to emphasize that just because someone is a “fan” photographer doesn’t mean that they’re not a very, very serious photographer–a lot of them sell their work and the like.

Oh, and K-Con Japan is getting me some good traffic–both right after it was held and after it was broadcast on television. Nice!

Where we are now


Since yesterday/today (depending on where you live) was/is Block B’s sixth anniversary, I thought I’d do a bit on where Block B is now.

Some things I hope are obvious: “Yesterday” did very well in Korea and remains on Gaon. The members still seem to be quite busy, and more stuff is coming up. “She’s a Baby” is doing great.

It seems like Block B is mainstreaming (or at least attempting to mainstream) in Japan, which is nice. I did a recent post on their reception in Taiwan (TL;DR: like the Second Coming); I want to point out that the Music Fun Party there three years ago got a little press (and attracted maybe a thousand people, if memory serves?), but nowhere near the level of coverage their recent concert did. So definitely a lot of progress has been made in that market (and although it’s harder to measure, I think a lot of progress has been made in China as well, even if monetizing those fans remains a challenge).

What other measures can we look at?

This is the past year’s traffic stats from–they’re a little screwy because I did some search-engine optimization in December 2016, which boosted views. Still, you can see that, even including only two weeks’ worth of data for April, the average number of unique visitors is more than 4,000 a month–and even before December, there are only two months where there were fewer than 4,000 visitors. Compare that to earlier years, where most months did not reach the 4,000-visitor mark. So that’s a nice upward trend from the English-speaking crowd.

Another thing to look at is YouTube views–those can also be a bit screwy because fans will campaign to increase them. Presumably all the videos have been campaigned upon, though, so hopefully the campaigns cancel each other out, and the YouTube view count gives us an idea of actual audience size.

Back in the day, both “H.E.R” and “Jackpot” took four days to get to one million views on the CJ E&M and Seven Seasons channels. “She’s a Baby,” in contrast, is past two million views in two-and-a-half days. “H.E.R” has been up for two years and has 20.9 million views; “Toy” has been up for one year and has 21.6 million views; “Yesterday” has been up for two months and has 11.5 million views. (For some historical perspective, in its first six months, “Very Good” only got to 5.6 million views.)

So, you know, again the trend seems to be that the audience is getting bigger and bigger, and it sort of doesn’t matter where you look. That’s all good. And I’m going to point out that just because BTS does well abroad doesn’t mean that no one outside Korea is listening to Block B–it’s not a zero-sum game!

Cool things


This video is pretty cool in general, but if I knew how to GIF, I’d GIF U-Kwon at this moment here:

With the background, he looks like he’s getting electrocuted or something.

Anyway, we’ve been getting some coverage of Block B’s European tour in European news outlets (along with the expected coverage in Korean and K-Pop outlets). Interestingly enough, this time around we didn’t get coverage (at least not that I could find) in Finland. I assume that’s because Block B is less novel there now.

They are still new in other countries, so there was a story in Amsterdam’s Metro before the show that was focused on K-Pop and its growing popularity there. In Lisbon, My Sound ran a photo of the concert with a blurb about the group, as well as K-Pop’s growing popularity there. (…I sense a theme…) And Sabado did a piece that focused on the enthusiasm of the fans but largely managed to avoid making them sound like a pack of lunatics, which is always good.

ETA: Oh, and duh, I wanted to put this up:


Traffic remains elevated, and it’s a lot of focus on the Links page, which I hope means that people are getting plugging into all the social media and the fanbases and generally LETTING BLOCK B TAKE OVER THEIR BRAINS. It’s well worth it.

This does not suck


Fan cams from Amsterdam are starting to crop up!

People seem excited:

ETA: I’d heard rumors of a lap dance! So happy they’re true!

(Looks like someone has most of the concert up here. Cool!)

And this is just the beginning….

Meanwhile, on the other side of the world, Block B is going to be at a concert at the Yoyogi First Gymnasium in Tokyo, which seats–get this–13,000 peopleThat’s not bad! It’s not just them, but they are one of only four acts (including an opening act, making them one of three headliners), so that’s really nice. (ETA: Apparently there will be more acts, but it also sounds like it’s going to be televised nationally…cool.)



That includes a lot of traffic to the schedule page after the concert. Do people want to see them again or something? Or maybe the fan accounts are tipping the people on the fence over to the “Yes, it’s worth every penny!” side of things….

I don’t have to pretend I’m watching the Super Bowl here, do I?


“Yesterday” is out, and it’s a great song with a really fun video–definitely look at the Japanese version as well if you want to see snacks thrown and more of U-Kwon and Jaehyo’s Agony in the Car faces.


Oh, the humanity.

It’s topping out in Korea, and traffic at is doing this again:


Not like it’s on iTunes yet–give it a day.

ETA: It’s up now. And this is happening once again: Screen Shot 2017-02-06 at 1.19.02 PM.png

Screen Shot 2017-02-06 at 1.19.09 PM.png

* * *

I’m feeling cranky and irritable today, so I’m going to point out that all this is happening even though Seven Seasons/KQ is once again promoting the song “wrong”–no promotional schedule was released, the initial teaser had the wrong date on it, and the group’s calendar page is once again an eerie, vacant wasteland.


Europe? What’s a Europe?

“Bermuda Triangle” was also promoted “wrong,” so people complained about it, and “When I’m With You” was promoted “right.” If you’ll recall, “Ordinary Love” was promoted so “wrongly” it required a boycott of the group a full year after its release.

Wanna guess which of those three songs didn’t sell?

You would think that some people, at some point, might feel obligated to notice that they don’t really know much about marketing music. Certainly they don’t know some magical formula for consistently generating hits, which is really no surprise because that’s something that has eluded everyone who has ever worked in the arts.

You would think.