One thing I really appreciate about BMSG is how they navigate this selection process.
BMSG is really considering the end game and the people.
The end game: a group meant to debut and charge forward.
The people: talented individuals working toward a chance to shine.
Sounds simple, but most shows of a similar format either do one but get sidetracked, or fail to do both. Which breaks my heart.
I've never really liked audition shows in general and I often feel they lead nowhere. It's often more about the story than the talent, and the end product is a mere phase that dies out in a season.
The assumption with these shows is: anyone can debut, now let's see how this plays out.
BMSG's assumption is always: anyone here could debut, so we need to really think about this.
One lets things play out like a pit fight the other tries to incubate talent.
I don't watch audition shows in real time, but watching BMSG's after knowing the groups hits even harder. We know not everyone is going to make it, not everyone is going to get screen time, but we can tell that everyone, the staff, the company, the talents, was working toward that end goal.
If you aren't aware, BMSG recently did a show for their trainees called TRYANGLE. It's not really an audition, more of an internal assessment and challenge. This is a really good example of BMSG's current talent incubating model.
I think your comparison between “pit fight” and “incubating talent” is really interesting. That may actually be one of the clearest ways I’ve seen someone describe the difference.
I also agree with what you said about BMSG always seeming conscious of the “end game.” Even when the process is emotional, it rarely feels random.
And yes, I’ve been watching TRYANGLE too. I was actually thinking about writing about it at some point. What struck me was not only how high the trainees’ level already is, but also how much emphasis BMSG seems to place on creativity itself — not just performance skill.
I understand that their next mission includes songwriting, which will be very interesting. It’s not very common to actually watch future artists in the middle of the songwriting process.
The so-called “4th Group” especially already feels unusually strong. (I believe TAICHI was absent because of college entrance exams.)
Your comment made me think there may be an interesting connection between the audition culture I wrote about here and BMSG’s current trainee-development approach.
I’d actually be curious how you would approach a TRYANGLE article yourself.
(Yes, Taichi is a clear candidate, I can tell by his hair. HAHAHA. It's expensive to keep your hair blonde to the roots and looking good. I don't think a random trainee would have his hair kept this blonde without some resources.)
This is an interesting question.
When I look at TRYANGLE, I'm currently looking at it from a product management and business perspective, so I'm looking at what resources, what value, what consumer demographic, and etc.
TRYANGLE is a really clear picture of how BMSG approaches talent and music as a product.
One remark I got about TRYANGLE was "I was surprised that they had makeup artists to do the makeup for the trainees." This seems like a random remark but it's actually very telling.
TRYANGLE stands out with its high production value for a trainee show. High production value doesn't mean they have a lot of resources or fancy sets or costumes. What it means is that the quality and quantity of resources are abundant enough to create great value. In this case, it's giving the trainees a pro level stage to showcase themselves.
So going back to the makeup artist comment, it shows how BMSG takes their trainees into consideration.
It's not the first time we've seen trainees or less valued talent given different treatment because resources are allocated to those with the highest value.
TRYANGLE shows BMSG is a nest to incubate new talent, others are a pit fights to see who might be the shiny stone in the rough.
(It should be “diamond in the rough”, but I don't think they are looking for a diamond, more anything shinier than average that could attract attention.)
Your perspective is always really interesting and inspirational.
I especially found your point about production value and resource allocation very insightful. The makeup artist example may sound small at first, but I think it actually says a lot about how BMSG views trainees: not as disposable placeholders, but as artists worth investing in even before debut.
Your comment also helped me connect some ideas I had been thinking about separately.
TRYANGLE doesn’t really feel like a traditional trainee program to me. It almost feels like BMSG is experimenting with a different relationship between “trainee” and “professional artist.”
Those trainees are already building fandoms, working with sponsors, performing in highly professional environments, and now apparently even moving toward songwriting missions. That part especially excites me because it’s rare to watch artists develop creative skills in real time before debut.
I will almost certainly end up writing about TRYANGLE soon.
And yes — the “4th Group” feels unusually strong already. Even before a formal debut, there’s already a very distinct sense of identity forming around them.
One thing I really appreciate about BMSG is how they navigate this selection process.
BMSG is really considering the end game and the people.
The end game: a group meant to debut and charge forward.
The people: talented individuals working toward a chance to shine.
Sounds simple, but most shows of a similar format either do one but get sidetracked, or fail to do both. Which breaks my heart.
I've never really liked audition shows in general and I often feel they lead nowhere. It's often more about the story than the talent, and the end product is a mere phase that dies out in a season.
The assumption with these shows is: anyone can debut, now let's see how this plays out.
BMSG's assumption is always: anyone here could debut, so we need to really think about this.
One lets things play out like a pit fight the other tries to incubate talent.
I don't watch audition shows in real time, but watching BMSG's after knowing the groups hits even harder. We know not everyone is going to make it, not everyone is going to get screen time, but we can tell that everyone, the staff, the company, the talents, was working toward that end goal.
If you aren't aware, BMSG recently did a show for their trainees called TRYANGLE. It's not really an audition, more of an internal assessment and challenge. This is a really good example of BMSG's current talent incubating model.
I think your comparison between “pit fight” and “incubating talent” is really interesting. That may actually be one of the clearest ways I’ve seen someone describe the difference.
I also agree with what you said about BMSG always seeming conscious of the “end game.” Even when the process is emotional, it rarely feels random.
And yes, I’ve been watching TRYANGLE too. I was actually thinking about writing about it at some point. What struck me was not only how high the trainees’ level already is, but also how much emphasis BMSG seems to place on creativity itself — not just performance skill.
I understand that their next mission includes songwriting, which will be very interesting. It’s not very common to actually watch future artists in the middle of the songwriting process.
The so-called “4th Group” especially already feels unusually strong. (I believe TAICHI was absent because of college entrance exams.)
Your comment made me think there may be an interesting connection between the audition culture I wrote about here and BMSG’s current trainee-development approach.
I’d actually be curious how you would approach a TRYANGLE article yourself.
(Yes, Taichi is a clear candidate, I can tell by his hair. HAHAHA. It's expensive to keep your hair blonde to the roots and looking good. I don't think a random trainee would have his hair kept this blonde without some resources.)
This is an interesting question.
When I look at TRYANGLE, I'm currently looking at it from a product management and business perspective, so I'm looking at what resources, what value, what consumer demographic, and etc.
TRYANGLE is a really clear picture of how BMSG approaches talent and music as a product.
One remark I got about TRYANGLE was "I was surprised that they had makeup artists to do the makeup for the trainees." This seems like a random remark but it's actually very telling.
TRYANGLE stands out with its high production value for a trainee show. High production value doesn't mean they have a lot of resources or fancy sets or costumes. What it means is that the quality and quantity of resources are abundant enough to create great value. In this case, it's giving the trainees a pro level stage to showcase themselves.
So going back to the makeup artist comment, it shows how BMSG takes their trainees into consideration.
It's not the first time we've seen trainees or less valued talent given different treatment because resources are allocated to those with the highest value.
TRYANGLE shows BMSG is a nest to incubate new talent, others are a pit fights to see who might be the shiny stone in the rough.
(It should be “diamond in the rough”, but I don't think they are looking for a diamond, more anything shinier than average that could attract attention.)
Thank you for your reply.
Your perspective is always really interesting and inspirational.
I especially found your point about production value and resource allocation very insightful. The makeup artist example may sound small at first, but I think it actually says a lot about how BMSG views trainees: not as disposable placeholders, but as artists worth investing in even before debut.
Your comment also helped me connect some ideas I had been thinking about separately.
TRYANGLE doesn’t really feel like a traditional trainee program to me. It almost feels like BMSG is experimenting with a different relationship between “trainee” and “professional artist.”
Those trainees are already building fandoms, working with sponsors, performing in highly professional environments, and now apparently even moving toward songwriting missions. That part especially excites me because it’s rare to watch artists develop creative skills in real time before debut.
I will almost certainly end up writing about TRYANGLE soon.
And yes — the “4th Group” feels unusually strong already. Even before a formal debut, there’s already a very distinct sense of identity forming around them.