Journalist

최송희
  • BTS’ V Builds Influence Through Image as Group Nears March Comeback
    BTS’ V Builds Influence Through Image as Group Nears March Comeback With BTS set to return in March, anticipation is rising again worldwide. News of the comeback and plans for a world tour, shared through “Arirang,” is drawing immediate attention beyond music, with ripple effects expected across tourism and broader economies. BTS is seen as both a force that can affect the global economy and a symbolic name that elevates South Korea’s image. Ahead of the comeback, this outlet is publishing a “BTS Member Profile” series, taking a closer look at each of the group’s seven members in turn. <Editor’s note> BTS’ V is a name that operates both inside and outside music. Within the group, he stands out for a distinct vocal color. In broader pop culture, however, the power that defines him is often closer to “image.” Across fashion, beauty, social media photos, exhibitions and other records, V is consumed not only as a person but as a mood. Commentators often say the atmosphere of a scene changes the moment he appears. In fashion and beauty, V established himself early as an icon. From stage styling to everyday outfits, what he chooses quickly becomes a talking point and is reproduced as a reference. Rather than relying on flashy embellishment or exaggerated staging, he has stuck to tones and textures that suit him — an approach summed up in the phrase “a V-like image.” By using his own taste as the standard instead of following a specific trend, he has been positioned less as a consumer of trends than as a producer of them. That image-making has expanded alongside his music. His first solo album, “Layover,” pushed “simplicity” as a consistent keyword not only in sound but across its visual concept. The tracks, including the title song “Slow Dancing,” emphasized mood and texture over showy devices. The five music videos were also built to focus on V’s face and voice without heavy explanation — a project designed so music and image shared a single tone. V’s influence has also continued through photography and documentation. His photobook “TYPE 非” focused on “non-fixedness,” crossing boundaries of form and genre rather than leaning on a staged concept. By taking part from the planning stage through the shoot and deciding how he wanted to be recorded, the work aimed to show the posture of “artist V,” not simply deliver a glossy photo collection. A related project that expanded into an exhibition also sought to turn the act of consuming images into an experience. His acting experience is another strand in that image narrative. His appearance in the 2016 drama “Hwarang” served as a moment when he stood before the public not only as an idol member but as a character. While his path afterward leaned more toward music and image-based work than full-scale acting, that single experience became a starting point for audiences to picture both “V on stage” and “V in a scene.” His starting point, however, remains music. His husky mid-to-low register and soulful tone create a clear color within BTS’ vocal line. Yet the core of how V is described now goes beyond a vocal position. The article argues he has largely designed for himself how he will be remembered — treating the way he is seen, from fashion and photography to music, documentation and his offstage posture, as part of the work itself. As BTS’ next chapter approaches, the question is what face V will present this time. What is clear, the article says, is that he can no longer be explained by a single genre or position. In an era when image becomes influence, the name V is functioning as a cultural signifier.* This article has been translated by AI. 2026-02-28 06:03:33
  • FNC Entertainment Tops 100 Billion Won in 2025 Revenue, Posts Third Straight Quarterly Profit
    FNC Entertainment Tops 100 Billion Won in 2025 Revenue, Posts Third Straight Quarterly Profit FNC Entertainment, or FNC, said on the 27th that its 2025 consolidated revenue totaled 102.4 billion won, while operating results were around break-even, with an operating loss of 200 million won. Revenue rose 16.1 billion won from a year earlier, topping 100 billion won for the first time in eight years since 2017. Operating profit improved by 4.0 billion won from the previous year, reflecting both sales growth and stronger profitability. On a consolidated basis, fourth-quarter revenue was 35.0 billion won and operating profit was 900 million won, extending a streak of operating profit for a third consecutive quarter since the second quarter. On an annual basis, the company said it has improved operating profit by about 3.0 billion to 5.0 billion won each year since 2022. Net loss widened from a year earlier, but the company said the increase was due to valuation losses on derivatives tied to convertible bonds, reflecting a rise in its share price. It said the loss was a non-cash, book entry from revaluing the fair value of conversion rights at the end of the period and was not directly related to operating activities. Chief Executive Officer Kim Yu-sik said the company’s “selection and concentration” strategy and business restructuring, pursued steadily since 2023, have been reflected in results each year and brought performance to around break-even, adding that it expects to enter a “full-fledged profit phase” going forward. Kim said the music business will continue to expand domestic and global fandoms, support the growth of newer artists and strengthen core areas such as albums, concerts and merchandise. He said results from the drama production business are expected to become visible soon, and that the actor management business will also continue efforts to improve profitability through activities including acting and fan meetings. * This article has been translated by AI. 2026-02-26 14:21:16
  • Park Chan-wook Named Jury President for 79th Cannes Film Festival, a First for a Korean
    Park Chan-wook Named Jury President for 79th Cannes Film Festival, a First for a Korean Director Park Chan-wook will serve as jury president for the 79th Cannes Film Festival, the festival’s organizers said. The Cannes organizing committee announced on Feb. 25 (local time) that Park was appointed to lead the competition jury at the festival in May. It is the first time a Korean has been chosen to chair the jury that decides the Palme d’Or winner since Cannes was founded. In a joint statement, Cannes President Iris Knobloch and General Delegate Thierry Fremaux cited Park’s “originality,” “remarkable visual style” and his ability to capture the inner lives of characters with unusual fates. They said they were pleased to honor his talent and to spotlight Korean cinema’s standing as it “grapples deeply with the questions of the times.” Park has a long history with Cannes. He won the Grand Prix in 2004 for “Oldboy,” the Jury Prize in 2009 for “Thirst,” and best director in 2022 for “Decision to Leave.” He also served as a competition juror in 2017, but this will be his first time returning as the panel’s leader. The 79th Cannes Film Festival will be held May 12-23 in the southern French resort city of Cannes. 2026-02-26 13:42:21
  • Jisoo and Seo In-guk team up for Netflix rom-com series Monthly Boyfriend
    Jisoo and Seo In-guk team up for Netflix rom-com series 'Monthly Boyfriend' “A rom-com goddess title? Yes, I want it.” Actor Jisoo is taking on her first romantic comedy, joining actor Seo In-guk in Netflix’s new series “Monthly Boyfriend,” built around the idea of a “dating subscription service.” A production presentation for the Netflix original series “Monthly Boyfriend” (written by Namgung Do-young, directed by Kim Jung-sik) was held on the morning of Feb. 26 at JW Marriott Dongdaemun Square Seoul in Jongno-gu, Seoul. Director Kim and lead actors Jisoo and Seo attended and discussed the project. “Monthly Boyfriend” is a romantic comedy about Seo Mi-rae (Jisoo), a webtoon producer worn down by real life, who “subscribes” to romance and tries dating through a virtual relationship simulation. Kim, known for his energetic style on “Work Later, Drink Now” and “Strong Girl Nam-soon,” directs the series. Kim Jung-sik said the series began with the question, “What if you could subscribe to dating?” He said he wanted to tell a story of a protagonist hurt in real life who finds healing by experiencing dates in a virtual world. “We put in everything you like,” he said, adding that he hopes viewers will feel as if they are trying a device that “is being developed somewhere.” For Jisoo, the series is her first romantic comedy and her first contemporary drama. She plays Mi-rae, a webtoon producer who hopes for a second chance at romance through virtual reality. Jisoo said virtual reality did not feel like a distant future but something relatable. She said she chose the project because the character is close to her in age, making Mi-rae’s struggles and choices feel familiar. Calling herself a homebody, Jisoo said she envied the idea of a device that could let someone “travel to different worlds” from home. She said it felt less like fantasy and more like something plausible. She described Mi-rae as someone who, after being hurt in love, throws herself into work and focuses on getting through daily life, but grows as she learns through the virtual world. Seo plays Park Kyung-nam, Mi-rae’s future co-worker, a capable employee with an appeal that is hard to pin down. Seo In-guk said he was drawn to the virtual-reality setting and was curious about the computer graphics and themes that could exist only in that world. He described Kyung-nam as someone who may look cold “like a robot” but is considerate and delicate inside, adding that viewers will want to see how Kyung-nam, who struggles to express emotions, changes after meeting Mi-rae. The two actors also highlighted their on-set chemistry. Both said the set was upbeat, with laughter from start to finish. Seo said Jisoo was “much funnier and more humorous” than he expected. He said the Mi-rae Jisoo played was more lovable than the character he first met on the page, adding that it made him want to hug her. Jisoo said she tried to follow Seo’s lead because of his experience in romance projects. Asked whether she wanted the “rom-com goddess” label, she answered shyly, “I want it.” Addressing concerns that have followed her acting, Jisoo said she discussed the role extensively with the director to show a better side of herself. She said she looked for a way to make the character fit her naturally, and that she hopes to hear viewers say she “found a role that suits her.” Kim said Jisoo worked hard, adding that the effort showed him “hard work can beat talent,” and that viewers will see her growth. He also said Jisoo wears 250 outfits in the series, signaling a range of looks. The 10-episode series, featuring special appearances by Seo Kang-jun, Lee Soo-hyuk and Lee Jae-wook, will be released worldwide on Netflix on March 6.* This article has been translated by AI. 2026-02-26 13:09:00
  • BTS’ Gwanghwamun comeback show sells out fast as global interest surges
    BTS’ Gwanghwamun comeback show sells out fast as global interest surges Ticket demand for BTS’ return to central Seoul has surged ahead of the group’s March 21 comeback live show in and around Gwanghwamun, with seats selling out quickly and online queues swelling. When offline viewing reservations opened at 8 p.m. on Feb. 23, traffic from around the world flooded the booking site, NOL Ticket, which briefly crashed. Kim, a 29-year-old office worker, said he logged in 30 minutes early but the screen froze at the opening time. “All I could see was a notice saying there were about 30,000 people waiting,” he said, adding he ultimately failed to secure a ticket. The waiting number later exceeded 100,000, and all seats sold out in about 40 minutes. Despite the show being free, posts offering scalped tickets for hundreds of thousands of won appeared on social media soon after reservations opened. Organizers said the venue will be built around a main stage installed across from the Gwanghwamun Woldae platform, with about 15,000 seats in total. Standing and reserved sections will be mixed near the statue of Adm. Yi Sun-sin. Of the standing-area tickets closest to the stage, 2,000 will be allocated by lottery among those who preordered the new album. Large LED screens will be placed in limited-view areas, and some pedestrian movement will be restricted under safety guidelines. The event will also be carried online. Netflix will exclusively livestream the Gwanghwamun performance worldwide as its first live event in South Korea. A Netflix official said it would be “a true live moment” in which viewers around the world share the same experience at the same time, beyond language and cultural barriers. Ticketing also began Feb. 25 for “live viewing” screenings tied to concerts scheduled for April in Goyang and Tokyo, with organizers preparing to host fans at about 3,800 locations across 80 countries and regions. Travel indicators have also jumped. Hotels.com said that in the 48 hours after the tour plan was announced, overseas searches for trips to Seoul rose 155% from the previous week. Searches for Busan, which is set to host a June concert, surged 2,375%, driven by major Asian markets including Japan, Hong Kong and Taiwan. Domestic searches also climbed sharply, up 190% for Seoul and 3,855% for Busan. The show is built around the concept of the new album, “Arirang,” with production designed to highlight Korean aesthetics around Gyeongbokgung Palace and Gwanghwamun. Organizers said the opening will feature the members marching along the “King’s Road” from Geunjeongmun Gate to the Woldae platform. The stage will use the Woldae, restored after 100 years, as a backdrop. A new-song performance with an Arirang traditional music ensemble and dancers is planned, along with an evening media facade projected across the Gwanghwamun wall. BTS will release its fifth full-length album, “Arirang,” worldwide at 1 p.m. on March 20, the day before the concert. The 14 new tracks will be unveiled live for the first time at Gwanghwamun on March 21. A Netflix documentary, “BTS: The Return,” about the album’s production will be released on March 27. The group is then set to begin a large-scale world tour in April starting in Goyang, with 82 shows across 34 cities. 2026-02-26 12:03:27
  • The Cross’ Lee Si-ha Takes Office as Korea Music Copyright Association President
    The Cross’ Lee Si-ha Takes Office as Korea Music Copyright Association President Lee Si-ha, a member of the band The Cross, has been inaugurated as the 25th president of the Korea Music Copyright Association, known as KOMCA, and laid out a four-year plan centered on creators. Taking office, Lee said he would “change the center of the association,” signaling a push for practical reforms. Lee outlined four main tasks. First, he said the association will focus not only on expanding collections but on increasing the real income of Korean songwriters — shifting from headline figures to raising the amounts that reach creators. Second, he called for building a framework in which artificial intelligence and music writers can coexist. Rather than viewing the spread of AI only as a threat, he said the association will work to institutionalize a fair compensation system. Third, Lee said he aims to double the amount of copyright royalties flowing into South Korea from overseas by strengthening global collection networks and reorganizing rights-protection systems. Fourth, he pledged tangible improvements in creator welfare, saying the association will redesign its benefits system so writers can work in a more stable environment. “We will become an association that changes creators’ lives, not one that just grows numbers,” Lee said, adding, “I will prove it with results within four years.” Lee has performed with The Cross alongside vocalist Kim Hyeok-geon, who suffered an unexpected accident, and is known for hits including “Don’t Cry” and “For You.” He is also a professor at Sejong University’s Graduate School of Industry. Lee said he plans to pause his music activities for the next four years and focus on making KOMCA an organization that contributes in practical ways to South Korea’s national interest.* This article has been translated by AI. 2026-02-26 08:28:20
  • ‘The Man Who Lives With the King’ Hits 6 Million Viewers as Cast Recalls Key On-Set Moments
    ‘The Man Who Lives With the King’ Hits 6 Million Viewers as Cast Recalls Key On-Set Moments A single movie scene holds many perspectives. Even in the same place and time, a director and actors may remember it differently. <Choi Song-hee’s B-Cut> looks beyond the polished “A-cut” on screen to the behind-the-scenes record that still carries the set’s atmosphere. By cross-checking interviews with the people who made the film, it reconstructs the “B-cut” moments that were often more intense than the finished frame. <Editor’s note> The film “The Man Who Lives With the King” has topped 6 million moviegoers in 20 days, moving at a pace comparable to past hit Korean historical dramas. While audiences celebrate the box-office numbers and the finished scenes, the people who made the film point to different turning points: an off-script suggestion, or a moment of sincerity that surfaced only after the camera stopped rolling. Director Jang Hang-jun said the ensemble began not with popularity but with instinct. He brought together Yoo Hae-jin, Park Ji-hoon, Yoo Ji-tae and Jeon Mi-do, saying he focused on acting rather than name recognition. "People might call it good fortune, but if you flip it around, who gathered them all? Ha ha," Jang said. "If you gave the script to 10 directors, they’d all cast it differently. Before casting, I looked only at acting, excluding popularity. Jeon Mi-do’s role as Maehwa was small, so I thought she might pass, but she accepted readily — and we actually increased her part. For Park Ji-hoon as King Danjong, I decided based only on his eyes in ‘Weak Hero,’ without even knowing he was an idol. And Yoo Hae-jin as Eom Heung-do was automatic in my head from the writing stage." On set, the actors became mirrors for one another. Yoo and Park, separated by nearly 30 years in age, said their work together went beyond a typical senior-junior relationship. Yoo said he discovered unexpected intensity from Park during a cliff scene. "I knew he was from the idol group Wanna One, but I didn’t really know his activities," Yoo said. "After I learned we’d work together, I looked up clips from ‘Weak Hero.’ When we met for the project, his energy was very strong. In the cliff scene, that energy was so intense it surprised me. It pushed me to think, ‘I can’t get complacent.’ I felt I had to stay sharp." One of the film’s most lyrical moments, the riverside water-play scene, was not in the script. It grew out of a behind-the-scenes image of Park spending time alone by the river between takes — a moment Yoo proposed turning into story. "At the end, when Eom Heung-do recovers Danjong’s body, there’s a scene that returns to the past," Yoo said. "I suggested the shot of Eom Heung-do looking sadly at Danjong playing in the water. As we filmed, I felt Eom Heung-do would have the gaze of a parent looking at a young child — someone too young, someone you feel sorry for. I thought we needed a scene where he looks at him with sadness and pity. It’s a tragic death, but I hoped it would convey that someone was by his side." "I heard it started from a single photo," Park said. "During a break, I was playing in the water by the river, and there was a photo taken from behind. What made sense to me was this: I’m at an age when I should be playing with friends, but I’m in exile with no one around, splashing alone. Even though it was me, it felt heartbreaking. I was impressed by his idea." Both actors said their off-camera rapport carried into scenes, where they judged each other’s sincerity through eye contact more than dialogue. "When you’re delivering lines, you look into the other person’s eyes," Yoo said. "You can tell whether they’re in the story or not. In sad scenes, when I look at Ji-hoon’s eyes, they’re already that wet. That pulls your emotions in. And when I’m emotional, his eyes can redden quickly, too. Through that, I thought, ‘He’s in this story.’ He expressed the path of a fragile character like Danjong toward death very well, and I think it was grounded in genuine sincerity." "I admired his acting and always respected him," Park said. "I couldn’t help but be amazed — even shocked — by the energy and rhythm he brought each time." The film’s momentum to 6 million viewers, the participants said, rested not only on careful direction but also on the actors’ close observation of one another and the choices that emerged on set — including a quiet, unscripted moment by the river that helped define the king’s loneliness.* This article has been translated by AI. 2026-02-25 15:33:28
  • Jo In-sung says he’s no action natural, credits director for Humint fight scenes
    Jo In-sung says he’s no action natural, credits director for 'Humint' fight scenes Jo In-sung has reunited with director Ryoo Seung-wan for a third time, following “Escape from Mogadishu” and “Smugglers,” returning in the film “Humint.” He plays “Manager Jo,” a South Korean National Intelligence Service agent who carries out missions with sharp instincts and judgment even in the middle of dangerous operations. After losing an informant for the first time, the character wavers between a cold-blooded assignment and a more human choice. Jo anchors the film with restrained emotion and a steady presence. “I’ve heard people say the action was shot elegantly, but the director and I are the type who get shy and don’t really talk like that,” Jo said. “Honestly, I don’t know much about action. I don’t really have a desire to become an action actor. If it felt (elegant), I think there must have been some kind of magic. If I used my body well, I’d probably dance well, too, but I don’t have that ability.” Because his character is an NIS agent, Jo said he visited and researched real locations as part of his preparation, describing the atmosphere on site and the impression it left. “You leave all your phones behind when you go (to the NIS),” he said. “They tell you not to post anything related, and there’s a tense mood. I got curious and asked (NIS agents) if they have black agents like Kim Doo-sik in ‘Moving,’ but they said it’s a state secret and they can’t talk about it. Ha ha.” To better understand the role, he said he relied on research, drawing on news and documentaries as well as popular TV programs. “By watching variety shows with North Korean defectors, like ‘Now On My Way to Meet You,’ I could look for information such as what kinds of conversations defectors had with the NIS,” he said. “I also used those conversations as reference.” ㅍ Jo said the details of the action were refined on set, and that the movements of a real instructor offered key clues in shaping the character. “The (NIS) instructor was really impressive,” he said. “There are parts I borrowed for the action. It’s feedback from a professional. In action scenes, you can get scolded for ‘trying too hard to look cool,’ but if it’s actually used in the field, then it’s accurate. I thought if we worked those practical elements into the action, audiences might enjoy it.” The opening action sequence also paired him with overseas actors. Jo said the unfamiliar rhythm heightened the tension. “I did action with overseas actors, and they were filming in an unfamiliar place in an unfamiliar way,” he said. “Of course they’d be tense. The action style was different. Even the martial arts director said, ‘So that’s how they react.’ Because it didn’t click perfectly, it made me nervous — like the action coming in deeper than expected. My eyes got wider and they captured that anxious look, and I think it came across as more realistic.” Jo described Manager Jo as a guide who brings viewers into the story, saying he tried not to push emotions too hard. “You identify through Manager Jo’s eyes, and you open and close the film through his daily life,” he said. “As a guide, I thought I shouldn’t make the acting too intense. I didn’t think it was good for my emotions to demand something from the audience. Still, I had to run the character, so I thought a lot about how. I felt the action scenes were important because they show his physical power, and they let me build him in a more three-dimensional way.” He also spoke about working with Park Jung-min, who plays Park Geon, a section chief in North Korea’s State Security Department, and Shin Se-kyung, who plays Chae Sun-hwa, a North Korean restaurant worker and human intelligence source. Though they did not share many scenes, he said their on-set chemistry stood out. “When you say someone has good acting intelligence, it’s sensory but also calculated,” Jo said. “You have to act within a set time, and I think it matters how well you understand what the director is saying. Even though I didn’t have many scenes with Jung-min and Se-kyung, that fit was really good. Everyone did their part, and we often got chances to save time and try what we wanted one more time.” Asked about change and growth after years of work, Jo said he thinks less in terms of being “new” and more in terms of becoming “solid.” “Being active for a long time also means you’re not new,” he said. “People have seen a lot of you. The 고민 about what to do differently is the same. Rather than showing something new, you can show that you’ve become more solid — though you can also change into new clothes. In acting, even staying still can be evolution. You ask whether it came across or not. In the end, I want to get to the point of not acting, but I wonder if that’s realistically possible. These days people talk a lot about naturalistic acting — capturing something truly natural. It’s about setting a goal more than personal development: This time, let’s stay still. Let’s see how I’m captured.” On overseas projects, he mixed in a candid joke, saying distribution has changed but he still sees himself as a “local” actor. “If something comes in, I’ll do it,” he said. “With OTT, our work can go overseas, and overseas expansion can happen. Distribution has improved. But since there are no offers yet, I think, ‘Ah, I’m local.’ Ha ha ha. So far, it doesn’t seem like there’s any reaction from overseas or people recognizing me. I don’t think I have the talent or qualities for overseas projects.” Jo’s next project is director Lee Chang-dong’s “Possible Love,” about two couples living opposite lives whose worlds become entangled, sending cracks through the daily lives of all four. Jo will play a married couple with Cho Yeo-jeong. The film, from the director of “Secret Sunshine” and “Poetry,” drew attention from the casting stage. “I’m curious about how I’ll look in director Lee Chang-dong’s film,” Jo said. “He’s an auteur director, and it’s grounded in reality. I acted in it, and I’m curious how it was captured.”* This article has been translated by AI. 2026-02-25 00:04:35
  • OK Records CEO Min Hee-jin to Hold Emergency News Conference After Trial Court Ruling
    OK Records CEO Min Hee-jin to Hold Emergency News Conference After Trial Court Ruling OK Records CEO Min Hee-jin will hold an emergency news conference on the 25th to present her position on a recently issued trial court ruling and outline her next steps. OK Records said on the 24th that Min is convening the event to personally explain the significance of the first-instance decision and her plans for future operations. Earlier, the Seoul Central District Court on the 12th dismissed a lawsuit filed by HYBE against Min and others seeking confirmation that a shareholder agreement had been terminated. The court, however, upheld Min’s lawsuit against HYBE seeking payment for shares tied to her exercise of a put option. The court ordered HYBE to pay Min 25.5 billion won, but HYBE has appealed. The dispute centers on whether the shareholder agreement remained valid. Min notified HYBE in November 2024 that she intended to exercise a put option on her ADOR stake. HYBE has argued the put option was no longer effective because it had already notified Min in July that year that it had terminated the agreement. Min has countered that HYBE’s termination was unjustified, and the trial court sided with her. It will be Min’s first appearance at an official event since the ruling. The news conference is expected to address the 25.5 billion won claim and OK Records’ management direction going forward.* This article has been translated by AI. 2026-02-24 17:57:17
  • BTS’ Jimin, an Emotion-Driven Performer, Builds His Solo Story With ‘FACE’ and ‘MUSE’
    BTS’ Jimin, an Emotion-Driven Performer, Builds His Solo Story With ‘FACE’ and ‘MUSE’ With BTS preparing to return in March, anticipation is rising worldwide. News of the comeback and plans for a world tour has prompted immediate reactions beyond the music industry, including in tourism and local economies, signaling another major wave of interest. BTS is seen as both a global economic force and a symbolic name that elevates South Korea’s image. Ahead of the comeback, this outlet is publishing a “BTS member profile” series, taking a closer look at each of the group’s seven members. <Editor’s note> Jimin serves as BTS’ main dancer and a lead vocalist. Onstage, his strength is how movement and breath work together. As a singer, he uses breath to heighten emotion, shifting between a sensual edge and a softer tone. He is also known for smooth transitions between chest voice and falsetto, steady tone across his range and a distinctive vocal color that is easy to recognize. Dance is central to his identity as a performer. He began popping in middle school and entered Busan High School of Arts as the top student in its dance department. Before moving to Seoul, he focused on contemporary dance, refining line and emotional expression. That background helps explain why his performances often feel narrative-driven, with detailed facial expressions and mood changes that track each song’s concept. As a solo artist, Jimin started with self-examination. His first official solo album, “FACE,” centered on confronting emotional highs and lows during the pandemic. The pre-release track “Set Me Free Pt.2” opened with a rougher intensity, while the title track “Like Crazy” translated his inner world with a more delicate touch. Moving among pop, hip-hop and R&B, the album links its emotional arc across tracks, leaving what the title suggests: a record of facing his “real self.” Results followed. “Like Crazy” reached No. 1 on Billboard’s Hot 100, a first for a Korean solo artist, and also earned a certification from the Recording Industry Association of America. “FACE” quickly expanded its global streaming performance, firmly establishing the start of Jimin’s solo run. His second solo album, “MUSE,” shifts direction. If “FACE” confronted the self, “MUSE” looks outward for sources of inspiration. The album’s through line is love, moving from “Rebirth” through “Smeraldo Garden Marching Band” and “Slow Dance,” changing emotional texture, turning the mood with “Be Mine,” and peaking with the title track “Who.” Across seven tracks, Jimin frames love as searching, confirming and, at times, drifting. The album’s palette also widens. Working again with producer Pdogg and additional producers, Jimin aimed for higher polish, while collaborations with Loco and Sofia Carson broadened its harmonies. He has said the album drew inspiration from The Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band,” a reference point for its romantic tone and structure. “Smeraldo Garden Marching Band,” which invokes the Smeraldo symbol from BTS’ broader narrative universe, presents a message for feelings that cannot be spoken, highlighting both Jimin’s lyricism and optimism. Above all, “Who” has become a song defined by endurance. Its cumulative streams on Spotify have continued to rise, sustaining long-term momentum, and “MUSE” has also expanded its presence through steady streaming results. The approach of letting the music build over time, rather than relying on flashy promotion, has become another side of Jimin’s solo identity. Jimin ultimately is an artist who speaks emotion first through dance and leaves it lingering through his voice. When his onstage immersion and the narratives in his recordings point in the same direction, his name comes into sharper focus. In this “BTS member profile” series, Jimin has built his chapter in that way.* This article has been translated by AI. 2026-02-24 17:04:08