Artists, managers, stamps and even enthusiasts have an obsession with charts, being number one is no longer enough, you have to break a record to be relevant, and that’s when things get out of hand.we had systems where CDs or downloads were grouped with derivatives, concert tickets or even newspapers (thank you, Prince), but that was the old music business.Today we have fake broadcast farms, paid playlist slots and stream manipulation sites.It’s simple to say what’s right and even legal in those cases, but what do you do with overly enthusiastic enthusiasts?
Take, for example, “Dynamite” from the K-Pop band BTS, a song that crowned spotify charts on its release date with 12.6 million views, the first-largest day for a track on serve in 2020.Not that, the video for the song reached more than 101 million perspectives in its first 24 hours on YouTube, a record for that platform.Good for BTS, they are hugely popular.
However, when you watched the Spotify charts of the day, the song credited just under 7.8 million streams instead of the 12.6 million “unfiltered” songs as the band claimed.So, what’s going on?
BTS enthusiasts are perhaps the most rabid any artist or band has ever had, and they are coordinated too. They rallied the troops with the particular concept in their brains not only to make “Dynamite” the top position on various streaming services, but also to record levels. This meant that some users listened to or watched the song over and over on the first day, which explains its huge number. Couldn’t it be considered to be a trap?
Maybe it’s one thing to have control or a label to manipulate numbers to win or glorify, but that’s when it’s all organized through a de facto online fan club.
It turns out that Spotify has established a formula for detecting ”inflation of gambling”.The service would limit the number of readings a user can contribute to the position on a song’s list over a 24-hour period.It’s also no secret to end users. You’ll see in SpotifyCharts.com where it says that charts “generate a formula that protects against synthetic inflation of chart positions”.
Certainly, asking your enthusiasts to stream your song over and over again is much better than using a robot farm to artificially pay attention to your music just to boost your royalties.several albums at physical record retailers in the 1960s, or call your local station to order your favorite song over and over again from the heyday of the radio.Today, it’s coming down globally.
That said, some installations (like Spotify) seem to protect themselves against this, while others ignore it or don’t care much about starting.The way I see things is a real good fortune that can only be noticed if you take a long-term view. If a song remains popular for a significant time (months rather than weeks), then it has some valid popularity. If this appears and disappears temporarily despite the main numbers, you may start checking the totals.
However, BTS can be a special case. The BTS army is fiercely unswerving and more active than the fan base of almaximum any other artist.According to Brandwatch, the army can succeed in 48 million, has its own series of Twitter hashtags and mentions the organization more than a million times a day!And just because the band is from Korea does not mean that maximum of their enthusiasts are maximum commonly Asian.The army is the most powerful in the United States, with 17% of its social traffic coming from there.
However, the controversy over what amounts to an official remains complicated, every time we think we have noticed it, a new twist appears, there is no doubt that the BTS army will continue to keep us on our guard.
After running for many years in the music world as a producer, engineer and musician, I thought that writing about it was like a laugh and that the hours were more regular.
After running for many years in the music world as a producer, engineer and musician, I knew that writing about it was like a laugh and that the hours were more regular.I am now the writer of 24 books on recording, music, music commerce and social media that are basic in school and university systems around the world (including the best-selling “Music 4.1: A Survival Guide to Making Music in the Internet Age”).When I’m not writing or in the studio, I’m also still a busy schedule of speeches, master categories and workshops in various schools and conferences.I also post daily on my popular music production blog and on the music industry blog Music 3.0.For more information, visit bobbyowsinski.com.