Third-Generation Idol’s Reasons Why Artists Don’t Always Promote On Music Shows Reveal The Shocking Costs For Performances

by galaxystars1

6 Comments

  1. Funwithnugukpop on

    I had no idea that idols are the hook for so much on music shows and that it counts as debt against them! I really feel bad for the lesser known groups that gain very little from it. The system is rigged against the idols, if they bring in ratings and advertisers for a music show to be successful, the risk/reward shouldn’t be so out of balance. I will def have a different view of music shows from now on, I am glad Hanse shared this info, idols deserve so much better!

  2. snap_wilson on

    Both idol “debt” and music show costs are scams, as is the idea that these show performances move the needle in absolutely any way whatsoever.

  3. Many-Ad-9007 on

    It makes sense. Maybe one day the justification of ‘winning music shows’ will not be significant anymore that companies will start doing online showcase or something more worthwhile money wise.

  4. I thought this became common knowledge since Suga outlined why he isn’t interested in going to music shows in 2020. The only ones who get paid for doing music shows are the MCs; idols and their companys pay for the sets/props and are expected to film for 5-7 hours at the convience of the stations, usually at 3 am.

  5. I was wondering why QWER didn’t promote on music shows when their song is so high up on Melon chart. Now I know why lol

  6. I think some fans see it as a paid gig, but in reality it’s more akin to advertising. It’s probably the most effective advertising a group can get if you aren’t a big group. Not only do you get the dedicated TV time, but now you get your fancams professionally made and uploaded to the internet for global audiences right next to all the artists they know. Companies are paying for a full service when their artist goes to a music show.

    The fact that it’s still allowed to be applied as training debt is bullshit though. That’s just companies exploiting their workers so they don’t have to take the risk of investing in them. It’s a scummy practice and creates win-win scenarios for the people with the most to gain from an artist’s successes.

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