Criteria on Rating K-Pop Agencies and Groups (Republished)

With the recent passing of Sulli, plus other events, agencies need to respond better to various issues. Hence, this article being republished.


This time, we are going to rate K-Pop entertainment agencies and select groups. Why are we doing this? This is to recognize their hard work in promoting and caring their K-Pop artists, and to impart some things for improvement. Ultimately, an agency must be responsive and mindful of its talents. It also has to let the groups reach their fullest potential. These things will be our focus as we rate them.

(Side Note: We’ll publish this now to let the agencies prepare and respond to issues till November 30 this year, in which afterwards we will evaluate them.)

To a lesser extent, the author will tackle some financial aspects. However, this has no major effect on ratings, since generally, if agencies are responsive, fame and financial success will just follow.

How do we rate K-Pop entertainment agencies? This is based on another set of criteria, and each criterion is assigned 5 points (except for Criteria No. 5 to 7, 10 points each). In this regard, I also decided to follow that of TheBiasList, but this is an assessment of performance in another angle. They are as follows:

  1. Promotion of groups. This appraises the ability of the agency to promote its groups through fanmeetings, various comebacks, and concerts. It is important, especially that rookie groups are being formed, drowning many others in the sea of K-Pop.
  2. Rolling out of comebacks. Preferably, groups have to be given various quality comebacks, especially when many people tend to forget them and their performance. At a minimum, one comeback per group is enough. This is also anchored on the premise that “the more comebacks, the better.”

Comebacks, as defined here, exclude Japanese comebacks (as this is intended primarily for Japanese) and OSTs for K-Dramas, but include comebacks via commercials.

  1. Handling boy groups. The biases in favor of boy/girl groups over the other cannot be avoided. Hence, rating them separately helps in tracking the agency’s treatment of them.
  2. Handling girl groups. Same reason as of Criterion No. 3.
  3. Assessment as whole. The rating gives an overview of how the agency acts and performs. Assigned ten points to this to reflect how the author perceives the company as a whole. This shall be explained further when we are now ready to rate them.
  4. Longevity of groups. In general, agencies are to be responsible in keeping their groups’ permanence. Groups are ideally not to be given limited life, as is the case on some groups today. I see this also as very important, hence the greater weight assigned.
  5. Handling issues and responding to it. Greater weight is also assigned to it, as agencies need to be mindful of various issues and ways on resolving it. Otherwise, expect lower quality of performance, lesser sales, net loss, and other negative effects, plus angry/dismayed fans.
  6. Other factors. This shall be explained further in separate assessment.

But wait, there’s more! In grading the K-Pop agencies, there will be a twist:  A separate assessment for select groups will also be provided, each criterion with rating of 5 points (except for Criteria No. 4 and 5 with 10 points each). Here they are laid as follows:

  1. Health issues. This does not mean that the group must not have any health issues. Absences due solely to health issues are acceptable. But if this gravely affects the group’s performance, we have a problem.
  2. Dating issues. This also does not mean that groups are barred from dating or having a boyfriend/girlfriend. In fact, they are free to love and be loved. However, if this affects the group’s performance, we also have a problem.
  3. Other issues (Internal). This shall be further discussed, if there’s any.
  4. Attitude. Greater weight is assigned, as this focuses more on their behavior, like absenteeism, time management, handling other commitments, concern for fellow members, and quarrel between themselves. It also includes how they treat their fans, whether in Korea or overseas. Proper attitude sets the groups to right direction and fame.
  5. Attendance in concerts, meet-ups, and overseas TV shows. Greater weight is also given in this criterion. It is given that groups do have limited opportunity to hold various concerts every day. Members who are absent without justifiable reason do miss greater chances to meet, greet, and win over non-fans.
  6. Review as a whole. This shall be discussed in separate ratings.
  7. Other factors. This shall be explained further in separate assessment with them.

All agencies and groups not mentioned in various rating articles are presumed to have rating of 85.00% (B- or Satisfactory), unless otherwise stated.


Featured Image Credit: Logo of K-Pop agencies from aminoapps.com.

Criteria on Rating K-Pop Agencies and Groups

This time, we are going to rate K-Pop entertainment agencies and select groups. Why are we doing this? This is to recognize their hard work in promoting and caring their K-Pop artists, and to impart some things for improvement. Ultimately, an agency must be responsive and mindful of its talents. It also has to let the groups reach their fullest potential. These things will be our focus as we rate them.

(Side Note: We’ll publish this now to let the agencies prepare and respond to issues till November 30 this year, in which afterwards we will evaluate them.)

To a lesser extent, the author will tackle some financial aspects. However, this has no major effect on ratings, since generally, if agencies are responsive, fame and financial success will just follow.

How do we rate K-Pop entertainment agencies? This is based on another set of criteria, and each criterion is assigned 5 points (except for Criteria No. 5 to 7, 10 points each). In this regard, I also decided to follow that of TheBiasList, but this is an assessment of performance in another angle. They are as follows:

  1. Promotion of groups. This appraises the ability of the agency to promote its groups through fanmeetings, various comebacks, and concerts. It is important, especially that rookie groups are being formed, drowning many others in the sea of K-Pop.
  2. Rolling out of comebacks. Preferably, groups have to be given various quality comebacks, especially when many people tend to forget them and their performance. At a minimum, one comeback per group is enough. This is also anchored on the premise that “the more comebacks, the better.”

Comebacks, as defined here, exclude Japanese comebacks (as this is intended primarily for Japanese) and OSTs for K-Dramas, but include comebacks via commercials.

  1. Handling boy groups. The biases in favor of boy/girl groups over the other cannot be avoided. Hence, rating them separately helps in tracking the agency’s treatment of them.
  2. Handling girl groups. Same reason as of Criterion No. 3.
  3. Assessment as whole. The rating gives an overview of how the agency acts and performs. Assigned ten points to this to reflect how the author perceives the company as a whole. This shall be explained further when we are now ready to rate them.
  4. Longevity of groups. In general, agencies are to be responsible in keeping their groups’ permanence. Groups are ideally not to be given limited life, as is the case on some groups today. I see this also as very important, hence the greater weight assigned.
  5. Handling issues and responding to it. Greater weight is also assigned to it, as agencies need to be mindful of various issues and ways on resolving it. Otherwise, expect lower quality of performance, lesser sales, net loss, and other negative effects, plus angry/dismayed fans.
  6. Other factors. This shall be explained further in separate assessment.

But wait, there’s more! In grading the K-Pop agencies, there will be a twist:  A separate assessment for select groups will also be provided, each criterion with rating of 5 points (except for Criteria No. 4 and 5 with 10 points each). Here they are laid as follows:

  1. Health issues. This does not mean that the group must not have any health issues. Absences due solely to health issues are acceptable. But if this gravely affects the group’s performance, we have a problem.
  2. Dating issues. This also does not mean that groups are barred from dating or having a boyfriend/girlfriend. In fact, they are free to love and be loved. However, if this affects the group’s performance, we also have a problem.
  3. Other issues (Internal). This shall be further discussed, if there’s any.
  4. Attitude. Greater weight is assigned, as this focuses more on their behavior, like absenteeism, time management, handling other commitments, concern for fellow members, and quarrel between themselves. It also includes how they treat their fans, whether in Korea or overseas. Proper attitude sets the groups to right direction and fame.
  5. Attendance in concerts, meet-ups, and overseas TV shows. Greater weight is also given in this criterion. It is given that groups do have limited opportunity to hold various concerts every day. Members who are absent without justifiable reason do miss greater chances to meet, greet, and win over non-fans.
  6. Review as a whole. This shall be discussed in separate ratings.
  7. Other factors. This shall be explained further in separate assessment with them.

All agencies and groups not mentioned in various rating articles are presumed to have rating of 85.00% (B- or Satisfactory), unless otherwise stated.


Featured Image Credit: Logo of K-Pop agencies from aminoapps.com.