The Korean press often describes BTS as if they rose to stardom overnight, but their potential as a global star was already visible during the early period of their career. The origin of such a trend was a North American K-pop festival called KCON USA, held in the summer of 2014 in Los Angeles, California. There, something completely unexpected happened. The American fans’ response to BTS, a rookie group whose name was barely becoming known, was unusually passionate... the success of BTS is discrete from the traditional style of Hallyu in that it is a musical phenomenon, backed by the massive support of ARMY, their now-famous fandom with an exclusive character.
/ The Onset of BTS Phenomenon at KCON 2014_ 17~18pp.

Self-vindication: this term concisely expresses BTS’ leader and main rapper RM’s first mixtape in a word. The album is faithful to the process of proving who he is. We must pay attention to the context behind this mixtape. The origin of BTS was in their identification as a hip-hop idol. There was an inevitable price to pay for messing with hip-hop, a genre that commands a large brigade of prickly fans who are eager to verify artists’ authenticity. Their format as an idol, regardless of their actual talent, bound them in a certain style of music and performance. This gave the critics an excuse to slam them. Some of the hip-hop community members aimed at the main rappers RM and SUGA, but the game was unfair from the start. This mixtape was born out of such a context. Despite the concerns surrounding “an idol rapper’s solo work,” the rap skills in RM are impeccable, even without the label as an idol. The beats were deliberately chosen to reveal his preference and various grains of his techniques.
/ Review_RM BY RAP MONSTER : Album Review_ 73p.

According to the ARMYs I have encountered in the U.S. over the past few years, BTS’ music is “different” to them. They feel something special that was missing in American pop music, including hip-hop, and previous cases of K-pop music. While there are multiple reasons, the key to such “difference” may be the universality and the wholesome nature of their messages. BTS is the one and only K-pop group that has embraced the narrative of youth and growth, previously avoided in idol music, as their central concept and identity and integrated them into profound messages and trendy music. Following the School Trilogy, their narrative started to develop solidly through the Most Beautiful Moment in Life series. It differed from the conceptual and fictional world view of existing K-pop idols. They were also distinguished from the American mainstream hip-hop, indulged excessively in self-verification and the narrative of macho swagger. The scorching energy of “Dope” and “FIRE,” the dauntless young musicianship demonstrated in the Cypher series and “Mic Drop,” sharp social critique in “Go Go,” and the despair, sorrow, and hope of the wounded youth in “Epilogue: Young Forever” and “Spring Day” have propelled them over the greatest weakness of K-pop ? the limitations of authenticity in message and attitude. These diverse, sincere, and universal words cannot be created by training and localization strategies.
/ Column_ Narrative and Authenticity over Localization_ 102~103pp.

Blood Sweat & Tears - “Other than you, I cannot serve anyone else; knowingly, I still had to drink from the poisoned chalice”
One of the most distinct musical transformations since debut, this track represents the crossover from the formula of hip-hop idol to become a pop group. It was highly influenced by multiple genres popularized in the mid-2010s, such as dancehall (a genre of Jamaican pop music) and its subgenres reggaeton and moombahton. Unlike the party atmosphere of the original genres, this song joined symbolic lyrics with Baroque-style mysticism to create something entirely different from the genre’s customs. Without any intro, Jimin’s voice starts the intense beginning. Each movement maximizes their sensuality on stage. In every way, this is one of the most archetypal songs of BTS’ career.
/ Review_WINGS : Track Review_ 151~152pp.

I am aware that the discography of BTS forms its own universe, which cannot be grasped in its entirety with a few songs. As a literary scholar, this is definitely the enticing factor for me. I have never seen a team that consistently writes a collective narrative by characterizing each member. It is incredible that the phenomenon is not just a processed product of stars’ lives, distant from the fans and unilaterally supplied for their consumption. Rather, they are evoking the universal emotions of the contemporary youth who identify with them, positioning their narrative as the screen for the youth to project their circumstances. In this narrative, the creator and the recipient appear to be one and the same.
/ Interview_ Consolation for the Distressed Youth : Hyeong-cheol Shin, Literary critic _ 177p.

At this point, I agree and think BTS having its roots in hip-hop feels like a better fit than pop for sure. Hip-hop comes from a place of necessity and struggle, and it always felt like that’s where BTS operated. The group didn’t necessarily need to release music that spoke to their mental, cultural and generational struggles, but they did it because?Well, I’m not entirely sure?because they had to? Overlook the fact that the members that made up BTS were strategically put together by BigHit Entertainment but how they operated after being put together is where I think their pop roots wither away. The group created music and art together out of necessity and it seemed like it was never because they were told they were releasing a certain song or portraying a certain concept. They did what was inside of them and that’s what connected. This is also seen in their social media strategy. It was always personal messages and photos from them, not filtered through a manager or agency.
/ Interview_ The New Mechanism of K-pop Industry Jeff Benjamin, Billboard Columnist _ 247~248pp.

As a vocal professor and a popera vocalist, I will evaluate them in general. I noticed from Jimin’s vocals his clear diction, high-pitch skills that extend straightforwardly, and excellent falsetto techniques in R&B sensibilities. This is very effective for emotionally appealing to the listeners. Jung Kook’s voice shows incredible restraint. I highly appreciate his vocal techniques, especially when he connects the elegantly beautiful voice with a smooth head voice in legato 29). As for V, the timbre of his baritone voice is very attractive and sounds more masculine than other members. He is also talented at expressing sweet and soft tones, very good at imbuing the music with his deep emotions. Being able to seamlessly express emotions through singing is a terrific strength for musicians in any genre. I’d like to describe Jin’s voice as “silvery.” Almost like a murmur, his voice may not be the fanciest or the grandest, with a lower volume to begin with. But he has stable breathing, along with the ability to interchange freely between moist falsetto, modal and head voice with natural vibrations, which is quite a useful advantage. He also progresses more than expectations in each album, a reflection of how much effort and consideration he is always investing in vocal training. I am highly anticipating how much he will continue to grow. Other members, who may not be vocal positions, also basically know how to handle chords elaborately, in addition to their outstanding rhythmic skills. Whether it is dancing, rapping, or singing, their genuine attitude toward music is a role model for musicians in any genre.
/ Interview_ A Conversation with a Korean Voting Member of the Grammy Awards: Popera Tenor Hyung-joo Lim _ 305~306pp.

<B>“BTS, a Korean Band Loved by the World”<br/>Professional Critique on the Essence of Worldwide BTS Syndrome and Their Music</B><br/><br/> When was BTS’ name first known to the general audience in Korea? Was it 2017, when they first won the “Top Social Artist” award at the Billboard Music Awards? Or was it when LOVE YOURSELF 轉 ‘Tear’ ranked atop the Billboard 200? <br/> It was only after BTS’ accomplishment was beyond just “Korea’s first” and “Asia’s first” that the major Korean press began to discuss their name. However, their debut was back in 2014. It was the heyday of K-pop, dominated by artists from the “Big 3” entertainment labels, such as 2NE1, Taeyang, EXO, and Girls’ Generation. BTS seemed to have nowhere to stand. Following their debut as a hip-hop idol, their credibility as an artist faced the fierce siege of hip-hop fans. At the same time, an unexpected twist was waiting for them. The episodes of a reality show that didn’t necessarily target overseas fans were translated and shared by international fans, creating the impetus for the formation of American BTS fans called “ARMY.”<br/> Youngdae Kim, the author of BTS: the Review, is a selection committee member of Korean Music Awards, the only music award in Korea that prioritizes the quality of music in their evaluation. In contrast to other BTS-related publications, it solely focuses on their music. To Kim, the unusual process of BTS’ rise in the U.S. and the following development are quite exhilarating to observe. It is especially striking as someone who knows how the paradigm of pop music is maneuvered through systematic promotions. Without a single song recorded in English, cooperation with international composers and producers at the initial stage of their career, or Korean American or international members who function as mediators on overseas media, BTS has captivated the conservative audience in the U.S. and Europe, and united the ARMYs all over the world. According to the American ARMYs that the author has encountered over the past few years, BTS’ music is “different” to them. What was it that differentiated them?<br/><br/><B>“I'm the One I Should Love”<br/> The Voice of Sympathy and Empowerment for the Millennial Youth</B><br/> BTS is arguably the only K-pop group that has embraced the narrative of youth and growth, previously avoided in idol music, as their central concept and identity and integrated them into profound messages and trendy music. Following the School Trilogy, their narrative started to develop solidly through the Most Beautiful Moment in Life series. It differed from the conceptual and fictional world view of existing K-pop idols. They were also distinguished from the American mainstream hip-hop, indulged excessively in self-verification and the narrative of macho swagger. The scorching energy of “Dope” and “FIRE,” the dauntless young musicianship demonstrated in the Cypher series and “Mic Drop,” sharp social critique in “Go Go,” and the despair, sorrow, and hope of the wounded youth in “Epilogue: Young Forever” and “Spring Day” have propelled them over the greatest weakness of K-pop?the limitations of authenticity in message and attitude. <br/> In the end, it’s the music that speaks the most about musicians. People seem to disregard that BTS members are first and foremost musicians. Most of the focus seems to be on their records, sales, and other numerical achievements. The largest portion of BTS: the Review is dedicated to the examination of sixteen albums that BTS has released. Kim analyzed all the tracks in all of their singles, albums, solo albums, and activities in their entirety from scratch. He aimed to elaborate on the meaning and the appeal of their songs in musical terms and to formulate a guide for those who listen to their music for the first time. As a result, this book became a compilation of critiques, reviews, and liner notes. From the QR codes included next to the sixteen album covers, readers can listen to entire albums in sequence as they follow along with the reviews of each track. They can discover a whole new way of appreciating BTS’ music through this multi-sensory experience.<br/><br/><B>Perspectives on BTS from Experts in Various Fields<br/>The First Complete Analysis of BTS Music</B><br/> The book also includes Youngdae Kim’s interviews with experts in diverse fields. Bong-hyeon Kim, one of the most well-known hip-hop Korean journalists, discusses BTS as underrated rappers and explains the historical crossroad of hip-hop and idol culture. He provides the musical perspective and context for understanding BTS’ early career. Brother Su, the composer of one of the most signature BTS tracks “I NEED U,” talks about the unique process of making music at BigHit Entertainment as well as the musical talent of BTS members who are involved in the production of their albums. Hyeong-cheol Shin, a literary critic, was impressed with BTS for evoking the universal emotions of the contemporary youth who identify with them, positioning their narrative as the screen for the youth to project their circumstances. BTS’ narrative of growth that overcame numerous hardships and haters’ criticism allowed the fans in their peers to discover themselves in the music, which provided consolation and comfort. The author further explores the heart of BTS phenomenon through conversations with Chang-nam Kim, the Chair of Korean Music Awards Selection Committee, Billboard columnist Jeff Benjamin, popera tenor Lim Hyung-joo who is also a voting member of the Grammys, and Myungji Chae, a fan translator for BTS. <br/> It was only a year ago that they were invited to the American Music Awards as rookie artists and dubbed “the global sensation,” and now the titles have become “the Beatles for the twenty-first century” and “the greatest boy band on the planet.” It is significant that these are genuinely generated by the mainstream western media and not out of national pride of the Korean press. Another vital component to their exceptional accomplishment is the passionate, grass-roots support of their worldwide fans, ARMY.<br/> If you have been wondering why BTS has been achieving such phenomenal success, find out by reading this book and listening to their music. They are shifting the undercurrents of American pop music, which has ruled the global music trend to this day.