- \n
- The fourth generation K-pop groups Tweet more than seven
\ntimes a day, multiple times more than previous generations of K-pop artists<\/li>\n - Twitter and K-pop Radar analyzed K-pop stars’ Twitter use for
\nthe first time, including analyzing Twitter use by each generation<\/li>\n - Increasing Twitter use reflects the growing global fanbase of
\nthe global phenomenon of K-pop<\/li>\n<\/ul>\nSEOUL, SOUTH KOREA – Media OutReach<\/a> – 14 June 2021 -
\nTwitter, together with K-pop Radar, analyzed K-pop stars’ use of Twitter for
\nthe first time and found it to be a critical tool for artists as they built
\nglobal audiences, as the fourth generation of K-pop stars actively communicates
\nwith global fans on Twitter. This analysis, “K-pop Generations Analysis by
\nTwitter Usage”, looked at 69 total K-pop artists with more than 300,000 Twitter
\nfollowers as of May 1, 2021, and analyzed the artists by generation.<\/p>\n
\n
\n
\n <\/p>\nNotably, K-pop the fourth generation
\naverages 323 Tweets before their official debuts. This may be a key factor in
\nthe fourth generation artists’ global fanbases and successes, as fourth
\ngeneration artists release their first overseas album, on average, 9 months
\nearlier than the previous generation did.<\/p>\n
\n <\/p>\n\u00a0<\/p>\n
![](\"https:\/\/release.media-outreach.com\/release.php\/Images\/Thumb\/500x0\/156121\/Kpop-Generation-Analysis-1.jpg#image-156121\")
<\/p>\n
\n
\n
\n <\/p>\n\u25b2Photo Description: K-pop
\nArtist Generation Analysis<\/p>\n
\n <\/p>\n\u00a0<\/p>\n
\n <\/p>\nK-pop stars’ method of communicating with
\ntheir fans has changed in line with the development of the K-pop industry, as
\nwell as the media. First and second generation K-pop stars communicated with
\ntheir fans through closed communities, such as fan cafes. From the third
\ngeneration onward, artists shared content with their fans through global media
\nplatforms such as Twitter, and started to communicate with wider fan bases
\nthrough live streaming and text messaging channels. Recently, beyond releasing
\ncontent, K-pop stars are diversifying ways to communicate with their fans by
\nactively utilizing new features such as Fleets and Spaces on Twitter. In
\naddition, as offline concerts and fan signing events were canceled due to the
\nCOVID-19 pandemic, they are actively communicating with global fans through
\nonline concert streaming, as well as #TwitterBlueroom live Q&A on Twitter.<\/p>\n
\n <\/p>\n\u00a0<\/p>\n
![](\"https:\/\/release.media-outreach.com\/release.php\/Images\/Thumb\/500x0\/156128\/Kpop-Generation-Analysis-2.jpg#image-156128\")
<\/p>\n
\n
\n
\n <\/p>\n\u25b2Photo Description:
\nDifferent Twitter Use Behavior by Artist Generations<\/p>\n
\n <\/p>\n\u00a0<\/p>\n
\n <\/p>\nIn terms of Twitter usage, there is a
\nclear difference between the way that each generation used Twitter, especially
\nin the following areas.<\/p>\n
\n <\/p>\n\u00a0<\/p>\n
\n <\/p>\nTweets per day<\/b><\/p>\n
\n <\/p>\nExcluding the first generation, who were
\nactive before Twitter launched, K-pop stars averaged:<\/p>\n- \n
- 1.2 Tweets per day for second-generation
\nstars<\/li>\n - 3.5 Tweets per day for third-generation
\nstars<\/li>\n - 7 Tweets per day for fourth-generation
\nstars<\/li>\n<\/ul>\nFourth generation stars Tweeted 5.8 times
\nmore than second generation stars, and 2 times more than third generation
\nstars.<\/p>\n
\n <\/p>\n\u00a0<\/p>\n
![](\"https:\/\/release.media-outreach.com\/release.php\/Images\/Thumb\/500x0\/156135\/Kpop-Generation-Analysis-3.jpg#image-156135\")
<\/p>\n
\n
\n
\n <\/p>\n\u25b2Photo Description:
\nCumulative Tweets by Generation for the Period of One Year After Debut <\/p>\n
\n <\/p>\n\u00a0<\/p>\n
\n <\/p>\nFirst Tweets<\/b><\/p>\n
\n <\/p>\nComparing first Tweets to stars’ official
\ndebut dates, Twitter and K-pop Radar found, on average:<\/p>\n- \n
- Second generation stars Tweeted for the
\nfirst time 1,154 days (more than three years) after their debut<\/li>\n - Third generation artists Tweeted for the
\nfirst time 132 days (more than four months) after their debut<\/li>\n - Fourth generation artists Tweeted for the
\nfirst time 116 days (more than four months) BEFORE their debut<\/li>\n<\/ul>\n
\n
\n
\n
\n
\n <\/p>\nAnalyzing the amount of Tweets for a year
\nfollowing artists’ debuts reveals other differences between the generations as
\nwell. Most second- and third-generation artists did not post Tweets before
\ntheir debut, and slowly increased their amount of Tweets after their debut.
\nHowever, a notable exception is BTS: BTS opened its Twitter account in December
\n2012, six months ahead of debut, and actively communicated with fans globally.
\nCurrently, BTS has 36 million Followers on Twitter.<\/p>\n
\n <\/p>\n\u00a0<\/p>\n
\n <\/p>\nFourth generation artists, such as ATEEZ,
\nTHE BOYZ, ENHYPEN, Stray Kids, TOMORROW X TOGETHER, and TREASURE, communicated
\nwith their fans after opening their Twitter accounts, months ahead of their
\nrespective debuts. On average, fourth generation artists Tweeted an
\noverwhelming amount before their debuts compared to second and third
\ngenerations, with each artist uploading an average of 323 Tweets, and
\naccumulating 562,377 Followers even before debuting.<\/p>\n
\n <\/p>\n![](\"https:\/\/release.media-outreach.com\/release.php\/Images\/Thumb\/500x0\/156142\/Kpop-Generation-Analysis-4.jpg#image-156142\")
<\/p>\n
\n
\n
\n <\/p>\n\u25b2Photo Description:
\nComparison of The Third and Fourth Generation K-pop Artists regarding Overseas
\nAdvancement\u00a0 <\/p>\n
\n <\/p>\n\u00a0<\/p>\n
\n <\/p>\nGlobal content<\/b><\/p>\n
\n <\/p>\nIn addition to communicating with fans
\nglobally via Twitter earlier than other generations, fourth generation artists
\nalso released content for their fans globally faster than previous generations,
\non average:<\/p>\n- \n
- The Fourth generation artists released
\ntheir first overseas albums 9 months earlier than third generation artists<\/li>\n - The Fourth generation artists also held
\ntheir first overseas concerts 13 months earlier than third generation artists<\/li>\n<\/ul>\n
\n
\n
\n <\/p>\n“Direct communication with global fans
\nthrough Twitter has now become a success formula for K-pop artists,” said
\nYeonJeong Kim, Head of Global K-pop and K-Contents Partnerships at Twitter, who
\nhas led this analysis. “When BTS, a 3rd generation K-pop group, had intimate
\nreal-time conversations with its global ARMY, it set an example for the 4th
\ngeneration to make this a feature of their engagement with fans. Fourth
\ngeneration artists like THE BOYZ, Stray Kids, ATEEZ, TOMORROW X TOGETHER,
\nGIDLE, ITZY, TREASURE, ENHYPEN, and aespa, who have been using Twitter as an
\nactive communication channel even before their debut, are advancing to the
\nglobal stages faster than the previous generations, which demonstrates that
\ndigital-based communication has a significant impact on growing their fandom.”<\/p>\n
\n <\/p>\n\u00a0<\/p>\n
\n <\/p>\nThis survey included the following
\nartists:<\/p>\n
\n <\/p>\n\u00a0<\/p>\n
\n <\/p>\nThe Second generation – TVXQ(
![](\"https:\/\/www.media-outreach.com\/Release\/templates\/images\/socialMedia\/iconmonstr-twitter-1-24.png\"\/)
@TVXQ<\/a>), Super Junior(@SJofficial<\/a>), Girls’ Generation(@GirlsGeneration<\/a>), SHINee(@SHINee<\/a>),
\n2PM(@follow_2PM<\/a>) etc. <\/p>\n
\n <\/p>\n\u00a0<\/p>\n
\n <\/p>\nThe third generation – EXO(
@weareoneEXO<\/a>),
\nBTS(@BTS_twt<\/a>),
\nGOT7(@GOT7Official<\/a>),
\nMAMAMOO(@RBW_MAMAMOO<\/a>),
\nRed Velvet(@RVsmtown<\/a>),
\nMonstaX(@OfficialMonstaX<\/a>),
\nSEVENTEEN(@Pledis_17<\/a>), TWICE(@JYPETWICE<\/a>),
\nNCT(@NCTsmtown<\/a>), BLACKPINK(@BLACKPINK<\/a>)
\netc.<\/p>\n
\n <\/p>\n\u00a0<\/p>\n
\n <\/p>\nThe fourth generation – THE BOYZ(
@Creker_THEBOYZ<\/a>), Stray Kids(@Stray_Kids<\/a>),
\nGIDLE(@G_I_DLE<\/a>), ATEEZ(@ATEEZofficial<\/a>),
\nITZY(@ITZYofficial<\/a>), TOMORROW X TOGETHER(@TXT_BigHit<\/a>), TREASURE(@TreasureMembers<\/a>),
\naespa(@aespa_official<\/a>), ENHYPEN(@ENHYPEN_members<\/a>)\u00a0 \u00a0etc.<\/p>\n
\n <\/p>\n\u00a0<\/p>\n
\n <\/p>\nSince most of the first generation
\ngroups, like HOT, Sechs Kies, SES, and Fin.K.L., were active before the launch
\nof Twitter, and do not currently have Twitter accounts, they were excluded from
\nthis data analysis. Among first generation artists, however, Shinwa (@ShinhwaCompany<\/a>), continue to be active as a group, and
\nshare their latest news through Twitter. Also, Seo Taiji (@SEO_TAIJI<\/a>), known as the ‘President of Culture’
\nand the originator of this chapter of modern K-pop, debuted as the group Seo
\nTaiji and Boys in 1992. After the launch of Twitter, he opened his own Twitter
\naccount in April 2010, and has changed the account name to SEOTAIJI \uc11c\ud0dc\uc9c0(@SEO_TAIJI<\/a>) in March 2021. Currently, he is
\nconnecting with fans globally by holding concerts via global livestreams on
\nTwitter.<\/p>\n
\n <\/p>\n\u00a0<\/p>\n
\n <\/p>\nIn the run-up to ‘World Music Day’, which
\nis celebrated worldwide on June 21, Twitter is preparing to host #KpopTwitter
\ncampaign where K-pop fans can participate and communicate. Twitter also plans
\nto organize various events such as #KpopFirstTweet campaign to find and share
\nthe first tweets of K-pop artists for a week period starting from June 14 on
\nTwitter Music account (@TwitterMusic<\/a>) and Twitter Korea official account (@TwitterKorea<\/a>). #KpopMasterpiece campaign to recommend
\nhidden masterpieces is another event Twitter is currently preparing. Any K-pop
\nfans around the world can participate by posting a tweet with the hashtags.
\nTweets that have garnered enthusiastic responses from fans will be collected
\nand published on Twitter blog.<\/p>\n![](\"https:\/\/release.media-outreach.com\/release.php\/Images\/Thumb\/500x0\/156149\/Kpop-Generation-Analysis-5.jpg#image-156149\")
<\/p>\n<\/p><\/div>\n
- The Fourth generation artists released
- Second generation stars Tweeted for the
- 1.2 Tweets per day for second-generation