What is one harsh truth about people's opinions on TXT?
Last Updated: 28.06.2025 09:36
teen vogue, billboard, gq, elle, cosmopolitan, paper magazine — all of which being respected, global publications — have directly addressed him as the fourth gen it boy.
this shows that the first and only idol who was consistently linked to this title from the start was yeonjun — long before anyone else even entered the conversation.
but denying reality won’t change any of the images i’ve added in this post.
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the first korean artist to reach #1 for a multiple of weeks on billboard artist 100 and billboard japan artist 100
** + hanteo music awards **
part one — the fourth gen it boy
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the k-pop group with most #1 albums on oricon
the first-ever k-pop group to headline axe ceremonia (later in april)
the only fourth gen boy group that consistently charts both domestically and internationally
when global media and k-pop insiders back it up, what’s left to argue?
with the exception of yeonjun’s title, which eventually made it outside the fandom, none of the titles mentioned in this post are fan-made; rather, they are recognized by multiple media outlets.
in total, that’s already 92 individuals who have stated that they look upto him — and the list has not even been updated as of late yet.
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many major korean along with international media outlets have labeled them as the leaders of fourth gen.
these nicknames were earned, just like every other title received by countless groups in the industry — all of which being solidified by media, professionals, and fans alike.
part two — the fourth gen leader
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not many outside the fandom will ever learn to acknowledge their achievements or the titles they’ve earned — and have continued to honor.
along with the previous titles already mentioned, they have also been called the representatives of fourth gen, as well as many other nicknames.
yet, despite industry validation, global recognition, and undeniable achievements, people still attempt to refute them — even going to such extremes as claiming they have lost popularity, when their achievements clearly prove otherwise.
2. the industry refers to him by the title — not just his fans
4. he has always performed in major award shows
google trends shows that the phrase first appeared in late 2019, right when txt’s “run away” era had gone viral.
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the first k-pop group to perform at lollapalooza and afterwards, the first k-pop group to headline the said festival
the fourth gen group with most songs over 100M streams on spotify
let’s go over this — with pictures included, to show that i’m not just saying this as a biased fan.
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why? because they don’t like the fact that, despite bighit continuously mismanaging txt — from providing barely any playlisting to giving them no real promotion — they still come out successful in the end.
they never claimed this title for themselves — the industry had given it to them. if you put even a little amount of effort in trying to find what titles they’ve been introduced as for a multiple of times, you’d get the answer quite easily.
yet, many still attempt to refute them, as if refusing to accept the truth will somehow make it disappear.
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the only k-pop group to earn a new #1 album on top album sales this decade
the highest charting k-pop group on billboard japan year-end top singles sales
1. the industry had given them this title — not moas
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and not to mention, they’ve achieved certain milestones first, setting a precedent before other groups even had the chance. just to list a few, they were/are:
3. he’s known as the idols’ idols
part three — the fourth gen representatives
how many times must the industry call yeonjun the fourth gen it boy for people to stop denying it? how many heights must txt reach before people admit they’re one of today’s leading groups?
1. the term exists because of him
the fourth gen k-pop group with most top 5 entries on billboard 200 and is tied with bts as the korean act with most top 5 entries. they are also the second korean act overall with most entries on the chart
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the k-pop group with the highest attendance in japan in the second half of 2024, with an estimate of 512,000 people attending the ten dates
and yet, when it comes to txt and yeonjun, people suddenly forget how this works. apparently, titles mean absolutely everything — unless they’re given to txt specifically.
but here’s the thing: opinions are debatable, while facts are not. yeonjun being the fourth gen it boy? that’s a fact with credible claims and sources.
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i’ve seen others state that the only reason he was able to perform at many award shows last year and early this year was because of the release of his mixtape. while i’m not denying that it contributed to him being invited to perform more frequently, he had already performed solo on many major stages multiple times long before. this, therefore, shows that even without the release of ‘ggum’, it was still highly likely that he would have had a solo stage regardless, given his and txt’s prominence in korea.
fellow idols and trainees alike constantly mention him as their inspiration, proving that his influence extends beyond just moas.
many love acting like the title was just something moas made up, but a quick search easily proves otherwise.
the fourth gen group with most million seller albums on circle chart
the first k-pop group to sell out >1 show at madison square garden
so, who exactly is out here denying it? some random user on twitter? don’t make me laugh.
how much more proof do people need to accept the titles they’ve earned?
the media recognizes it, idols acknowledge it, his career proves it yet some people still try to argue.
the all time best selling fourth gen group with a korean album on oricon, despite sanctuary being released in november
being a leader in k-pop isn’t just about debuting early. this is why txt aren’t just one of the leading fourth gen groups today — they are the leading fourth gen boy group.
I believe we’re all aware that k-pop as a whole thrives on titles. the more impactful you are, the more nicknames you’ll earn. it’s safe to say these aren’t made just for fun — they're acknowledgments of influence, of impact, often backed by the industry itself.
the fastest k-pop group to hold a four-dome tour in japan (tokyo, fukuoka, osaka, nagoya)