mingi | enhypen is 7

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mingi | enhypen is 7

mingi | enhypen is 7

@meankeys_7

backup for @meankeys_ enhypen is 7! 🧡

가입일 Mart 2026
161 팔로잉108 팔로워
rwonie⁷- ENHYPEN IS 7
rwonie⁷- ENHYPEN IS 7@tuntunbunbun·
I have only one question: WHY he can't stay in the group while doing his solo activities too!? it's not like no one does it! I have only one demand: BRING HEESEUNG BACK TO ENHYPEN I have only one reminder: TREAT ENHYPEN BETTER because that's what you should do belift
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mingi | enhypen is 7 리트윗함
lini 🦇 7EN
lini 🦇 7EN@kkimchiddeon·
Since the streaming has recently become an arguable question for a lot of ENGENEs, pro- and anti-boycotters included again, I wanted to make a little deep-dive into the topic. I would like everyone to watch a very elaborate video of how Royalties streaming distribution works on a real life case. The person in the video explains it in a very simple language and gives you examples with some average numbers in mind. The streaming, unlike the popular assumption, isn't about artists' direct income. It is about charts (Melon, Billboard etc.), visibility, algorithm promotion and global reach. It builds popularity. If you are trying to estimate ENHYPEN’s payout based on this video, please remember — apart from ENHYPEN themselves, there is a whole team working on their songs, and the final amount of revenue, after all the fees, still has to be distributed amongst the seven members. According to KOMCA’s (Korean Music Copyright Association) report from last year, only 10.5% of the whole streaming revenue is distributed to copyright holders in Korea. We have to consider that numerous intermediaries are involved in the distribution of music revenue to copyright holders. Domestic streaming platforms like Melon take a 35% share revenue, higher than the average less than 30%. Before getting to ENHYPEN, the revenue goes through a distributor and a copyright management organisation. If companies receive revenue through KOMCA (Korea Music Copyright Association), they have to pay additional fees to domestic copyright management organisations, leading to double fee deductions. That is not it yet — there are Master Rights and Publishing Rights, and the revenue distribution for those two is drastically different. Master Rights are owned by the company (in our case, BE:LIFT Lab), and it is considered the largest share of money. Publishing Rights would be considered a smaller share, and that one gets distributed amongst the number of people in the credits (the higher you are in the credits, the bigger piece of a "pie" you get), and only then divided amongst the members. In a very simple language — after the Royalties, in South Korea, the revenue from streaming goes through numerous fees, organisations and faces, gets distributed amongst the people in the song credits, and only then do the members get their shares out of this.
KATO ON THE TRACK@KatoProducer

How much money I made off 100M streams as the producer

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rwonie⁷- ENHYPEN IS 7
rwonie⁷- ENHYPEN IS 7@tuntunbunbun·
Please Don't Use Different Tags‼️ ENGENEs reject continued mismanagement, BELIFT LAB must correct their course immediately. Respect ENHYPEN as a seven member group or face coordinated boycotts and lasting reputational consequences. #ShoutOutToENHYPEN #BOYCOTT_beliftLAB_HYBE
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zENa⁷ | 7hypen
zENa⁷ | 7hypen@zENaHA777·
And oh God please let us see them like this again ..
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mingi | enhypen is 7 리트윗함
esme ּ ֶָ֢. 𝟕
is it js me or is everyone losing followers? repost if you’re ot7 + pro-boycott. we need to have more interactive tags, let’s be friends. i’ll fb 🫡
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