Another classic performance!

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No, I’m not talking about M Countdown.

Awesome.

And the performance of “Don’t Leave” has an…interesting moment.

Something’s wrong with Jaehyo’s earphones, so maybe that’s why? And for some reason, P.O just touched his nipple instead of going for his dick. (ETA: OK, the V Apps have better English subs now, and the nipple thing has been a running joke.)

EATA: Another nipple attack!

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Well, that’s going to free up some of my time

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Gaon has stopped publishing download numbers! They’re going for some kind of combined download/streaming overall magical digital number–I’m not sure why they can’t still do streaming and downloads separately, but apparently they’re not gonna.

It’s kind of annoying because Gaon’s always given a lot more data than other music charts, but I guess they’re looking at those charts and saying, “Why do we work so hard?” Oh well–a blow to nerds like me, but at least now I don’t have to update Wikipedia’s discography numbers every friggin’ week.

You guys know this is normal, right?

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So, yeah, “Don’t Leave” isn’t topping out on the charts, either, after “Shall We Dance” didn’t. Which means BLOCK B IS DOOMED!!! DOOOOOOOOOOMED!!!!!!

You know, just as they have been since Day 1. Dooooooooooooooooooooooooomed. (Because cursed!)

Or maybe ups and downs are a normal thing in a music career? Hence the value of persistence?

It’s honestly kind of funny to me to see the black-and-white thinking kick into gear. Block B has two stadium shows in Korea at the end of this month, and six concerts in Japan after that. “Artist” is still–still–on Gaon (passed 1 million downloads!). I think funeral rites are a tad premature.

And it’s not like other artists don’t deal with this. Taeyang‘s “Eyes Nose Lips” sold 2.3 million downloads; his next single, “Darling,” sold a little more than a tenth of that.

This is what happens. It’s not because the public gives a fuck about some fandom drama or because the exact same company that was in charge when the hits were released suddenly ran out of mojo.

It is normal for this industry. Hits are very unpredictable (I know some musicians who had a song become a hit entirely by accident). Whenever people ask, “Why isn’t this a hit?” I wonder just how many hit songs they themselves have produced–it’s kind of like asking why someone hasn’t been struck by lightning, or thinking that people can win the lottery just by, you know, wanting to.

Needless to say, the unpredictability of hits is and always has been a serious challenge to everyone in the industry. Music labels diversify in order to even out that revenue flow. That’s why, even though Block B has got a comeback and a concert going on, B-Bomb’s doing a play, Park Kyung is plugging away on Problematic Men, and U-Kwon’s doing a Japanese/Korean TV show.

Because Block B is more diversified, that actually takes the pressure off for each and every music release to be some monster hit. They’re established now–it’s not like when they released “Nalina” or even “Very Good.” And while I realize that it’s not uncommon for K-Pop groups to get neglected by their label if things slow down, turning a lull into a career-killer, that’s just very unlikely to happen to Block B–especially now.

In other words–I don’t think this is worth getting weepy about. Just enjoy the music–it’s good, and it’s going to keep on happening.

What a day

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Today was really busy, including an unscheduled stop to pick my neighbor up off the ground! (Not sure what’s going on there, but she’s apparently OK and has my number now.)

Anyway, this is out:

And is very pretty–this shot in particular I thought was really nice:

My only beef is, They’re all dating the same woman! Again! Didn’t they learn anything from “Yesterday“?

Just a little perspective here

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I came across these today:

Now, Junoflo is a guy who has, what, 9,000 followers on Twitter? No serious following on OneHallyu, no music-show trophies, no major hits, no screaming hordes of fans lashing out angrily at anyone they perceive as getting in his way.

It doesn’t matter. Dude’s happy to be making a living doing what he loves. This contentment–this internal and personal emotional state, which so rewarding that people who could make more money in another field will work in the arts instead just to get it–is what gets lost in all the bean-counting and horse-racing and chart-ranking and fan-warring that goes on out in public.

And this isn’t just something that happens in K-Pop by any means. The whole thing where people who aren’t players sit on the sidelines and try to judge who is hot or not happens all the time, and for artists it is exactly like when a bunch of dumb frat boys hold up signs with numbers on them to rank the disinterested women who pass them by on their way to doing something far more interesting with people who aren’t a complete waste of space.

It’s not about whether a bunch of idiots think you’re cool–it’s about what you’re doing with your life. And there’s something profoundly gratifying about working in the arts, whether or not you are fulfilling somebody’s else notion of success.