不得不说韩国在文化输出方面做的很厉害。当全球大部分国家在竞争汽车等大中型工业的时候，到20世纪70年代欧美人、日本人已经占领了汽车产业的一大部分，但是世界上有一个领域可以发挥它们的力量，是一个完全，并且也是一个没有人盯着、非常开放的空间，他们敏锐地把目光投向了“Cultural industry”（文化产业），这其中包括：韩剧、韩影，以及被我深深热爱着的“Korean Wave”（韩流）他们把力量都集中在“售卖文化”（Cultural selling），将这些集中在音乐产业（Kpop）和电视产业、电影产业，让人们轻而易举地专注于他们感兴趣的领域，让其他的人消费他们自己的文化，包括他们本国也在消费着自身的文化，无论是两次受邀格莱美的BTS还是在奥斯卡分了一大块肥肉的《寄生虫》，他们都不是无缘无故冒出来的，它是一种与众不同的韩国政府和韩国人的努力。ㅋ ㅋ 当然Kpop也被很多人所诟病，原因在于流水线产出的口水歌以及华而不实的表面包装。这确实是一个很明显的问题。
希望它融汇更多“个性”和文化元素，变得越来越好。
“大家都能制作优秀的音乐，听到优秀的音乐，希望那样的时代都能到来。”—金硕珍
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下面是自己译制的英国电讯报的文章节选
BTS, for what it’s worth*, have a remarkably clean track record for endlessly trailed superstars, with a spotless rap sheet that make S Club 7’s early-Noughties dalliance with marijuana look comparatively dangerous. But they’ve also achieved a level of success that has made them slightly fearless in other ways, particularly when it comes to their corporate overlords.
BTS，在永无止境被媒体尾随的超级巨星之中来说，有着非常干净的记录。相较之下，他们毫无污点的档案让S Club 7*在2000年初期偶食大麻一事也显得危险起来了。但同时BTS现在所得的成就也令他们在另一层面稍微变得无惧，特别是在面对他们的企业东家时。
Map of the Soul: Persona is full of references to the band’s disinterest in weightless pop (“Born as a K-pop idol and reborn as an artist,” Suga raps in album closer Dionysus), and their awareness of putting clear boundaries between the personas presented to the public and those that exist behind closed doors (In Intro: Persona, RM sings, “The ‘me’ that I want myself to be, the ‘me’ that people want me to be… the ‘me’ that’s smiling, the ‘me’ that’s sometimes in tears.”)
Map of the Soul: Persona这张专辑里多番提及BTS对内容空洞的流行曲不感兴趣（“作为Kpop偶像转世而生的 artist”，收录于专辑内歌曲《Dionysus》Suga Rap部分），以及他们将面向大众和私底下的人格面具清楚区分的意识（“那个我想成为的我，那个人们期待的我……那个笑着的我，那个偶尔哭着的我”，收录于专辑内的RM的《Intro: Persona》）
And during their pre-concert press conference, RM spoke of the band’s psychological dependence on their stage names (he is actually Kim Nam Joon, J-Hope is Jung Ho Seok, and so forth). With a characteristic blend of philosophy-student existentialism and legitimate insight, he spoke of the importance they hold in terms of survival.
在演唱会前记者招待会里，RM谈及组合成员对于艺名的心理依赖。（他本名是金南俊，Jhope本名是郑号锡，如此类推）他结合存在主义哲学学说和真实的个人洞见，提出了独特的观点，解释了这些艺名对他们生存的重要性。
“When you grow up and when the night comes and the sun is down, a man’s shadow becomes longer,” he began. “So if my height gets higher, the shadow becomes longer. Sometimes it is too much and too hard and too big for us, but to live and survive as an artist and a human and a person who trusts and loves themselves, we need to be friends with the shadows. Our new album is called Persona. I have my persona, RM, and I have my other persona, Kim Nam Joon, a normal 25 year old in Korea, and we have to keep those two personas and two names alive.”
“当你长大，当夜幕来临，当太阳西沉时，一个人的影子就变长了。”他说道。“所以，当我越来越高，影子便越发的长。有时这对我们来说太多、太难、太大了，但是如果要作为艺人、人类、又或者作为一个相信和爱自己的人而活，那么我们要学会与影子为伍共处。我们的新专辑名为Persona。我有我的Persona，RM，我也有另一个Persona，金南俊，一个普通的二十五岁南韩人。我们得让那两个Persona和两个名字都活着。”
Whether you’re inclined to embrace such wisdom or roll your eyes, it is a statement that speaks to a thoughtfulness that goes beyond the traditional expectations of pop stardom, something further reflected in the energy BTS bring to their concerts, the elaborate mythologies of their output, and the empathy and introspection that has made them directly attuned to the wants and needs of pop fans today.
无论你倾向采纳这番慧言抑或翻个白眼，这番话里头的深思熟虑，确实是超越了大众对传统流行明星的期望。这点进一步反映在BTS带给演唱会的力量，在音乐制作中精心复杂的隐喻故事，还有在对广大流行乐迷的需求心领神会的同理心和自省之中。
