#ON:E CONCERT

[jungkookverse]

Jungkook + My Time → MOTS ON:E Concert D1

bonus: 🕖

#btsgif #jksource #dailybts #dailybangtan #usersky #networkbangtan #bangtanarmynet #jungkook #jeongguk #my gif #mots on:e #live #concerts #my time #almost two years and still the best thing that ever happened yeah

[reflections-in-a-critical-eye]

My post for Jimin's birthday is him wearing berets because it's one of my favorite looks. He's a bit chic, low effort but has the je ne sais quoi because Jimin is the IT boy.

I've written many times about Jimin. Either about his music, his photoshoots, projects or I straight up acted like a true fangirl. Which is the best combination. I'd like to bring back a post that is not only one of my favorites, but it also has as subject a photobook that launched Jimin as an artist in his Chapter 2 and acted as a glimpse into his mind and artistic inclinations.

#m thoughts #jimin #jimin beret #happy birthday jimin

[bts-bangtanies]

BTS Exhibition ‘Map of the Soul ON:E (오,늩)’ 🚂🚆🚇🖼️🚊🚉🚈 online virtual exhibition in association with the ‘Map of the Soul ON:E online concert ⛲️ (10 - 11 October 2020 🎤) photo scans 🤲🙀👐 - 13 October to 12 November 2020

#bts #bangtan #bangtan sonyeondan #map of the soul on:e

[jiinjiinjarra]

Oct 2, 2020 (201002): 2020 Billboard Music Awards

Oct 5, 2020 (201005): BTS Map Of The Soul ON:E

🐹: "I really missed having an audience. A stage performance is all about the connections between the audience and the performer. Just only the camera to look at the whole time made me more nervous. To be honest, I wasn't as excited, though I still gave it my all." (p.107)

🐰: "What gives me the most energy during the show is the cheers from the fans. That's what keeps me dancing and singing even when I have cramps all over my body. I felt hollow without that. I'm eager to see them again and hear the electrifying cheers again." (p.517)

Oct 26, 2020 (201026): The Late Show with James Corden

Oct 29, 2020 (201029): The Late Show with James Corden

🐹: "I'm putting a lot of effort into my work, but personally, I've been a bit emotionally detached from everything for the last few months. If I don't have a fixed schedule, I find myself just lying around at home and sleeping for about 15 hours a day. I don't know if it's because of the prolonged pandemic or for some other reason. Even games don't excite me much anymore. I guess it's just a phase that everyone goes through at some point. It'll get better." (p.110)

🐰: "I almost collapsed when I heard that the concert was canceled. I've been looking through a lot of old videos of us rehearsing and performing. I miss doing shows terribly. I want to get back on the plane and tour around the world again. I can't wait to feel that sensation again." (p.523)

BTS // Book // 'Beyond the Stage' Documentary Photobook : The Day We Meet // Photobook // 2023 // Pt.3

Scan Cr. jiinjiinjarra (me)

Translation cr. provided in the book

#bts #bts jin #bts jungkook #jin #jungkook #jinkook #beyond the stage #kookjin #bts photobook #bts scans

[beautifulpersonpeach]

Hello there!

Une belle et merveilleuse année 2024!

I have some Namjoon related asks for you, if you don't mind answering them.

1- Mono or Indigo? (For me : Mono for its candour)

2- Namjoon's one trait that makes your brain stops working. (his voice and sincerity in his latest WV lives)

3- The stage moment he blows your mind or eyes : (For me Bangbang Con : No more dream)

Bisous

***

Oh, @mirrhani,

You're a Joonie girl. Thank you for that last mention by the way. BTS's performance of No More Dream during the MOTS7 ON:E concert, is one of the best examples of why they are at the very top. Watching that performance it's crystal clear that they are the best. I've embbed it here to that point.

And then the acoustic version:

There’s been much ado in k-pop circles lately about the prevalence of lip synced performances rather than truly live renditions… and then there’s BTS, who have been monster live performers since Day 1 and never dropped in quality.

*

Anyway, Joon. Him. Yes, I agree with you. He commands attention. He is so big and he lets you know it. He doesn't hide that energy when he performs, even though he's such a shy bean off-stage. That might be tied to why his voice and sincerity got to you in the last Wlives. Because you knew he was being sincere.

Anyway, I prefer Indigo. It's a more enjoyable listen for me. Paak (the lying whore), brought sass to the record, All Day is SOTY, Change Pt. 2 deserves a Grammy x2, and I think Namjoon deserves cred for designing an album with that caliber of collaborators whose style complement his, people who trust him to make good music and agreed to join the project on merit of his talent. Mono is a reset. It's an experience everyone should have at least once. Also, not sure I've said this anywhere, but I have a pet theory that Namjoon's voice on Mono is what made Soyoon reach out to work with him. Smoke Sprite sounds like the best possible mutation of Mono. Soyoon felt it instantly. That lesbian didn't stand a chance. That's what his voice and mind does.

Anyway I'm starting to sound insane so I'll just stop here. This is why I can't write about my biases lol.

#namjoon #kim namjoon #rm #bts

[stormblessed95]

Hey storm , so I was just watching Jikook videos nd l came across , the videos when Jimin was crying in the mots on:e concert , do you think jk wanted to do way more than just go over there nd touch his neck , he looked like he was really really holding him self back there , and he kinda look so heartbroken seeing Jimin like that , do you already made about this

Such a soft moment for real. It's insane. It's so tender and so sad

JK: "지민이 형... = Jimin-hyung..."

JM: "I'm sorry (for the tears)"

JK:  "No, don’t be"

Of course it seemed like he wanted to do more. To comfort and to cheer him up. To get there sooner than he was able to in the first place. He worked in the parameters he had while they were working on stage. And still made sure to go over there as soon as he could to provide some comfort and try to make him smile. 😭

The comfort love and care they give each other is so beautiful. They clearly feel so safe with each other. And it goes both directions too. 😭

Will not ever be okay. When I say each other's safe space. This is part of what I mean 😭😭

#jikook #kookmin #jikook mots one #201010 jikook #jk comforting jm #jm comforting jk #jikook safe space

[fanyyy444]

HELLO :D

Ummm, idk what to ask ●3●

Maybe, What's your opinion on watermelon with mustard 🤨 OR Hiw do you feel about JIN coming back 🙂

Hiiiiii👋🏻

I don't know lol😅 I've never eaten this, but it seems to taste bad idk, just my opinion😭😭 It must burn idk

I FEEL REJUVENATED, REBORNED, INFINITELY HAPPY😭😭😭😭😭💗💗💗💗💗

I miss him so much, and all the other boys also, like I still can't believe they REALLY went to the military...?????😭😭😭😭

Can't wait for him🫶🏻💜💜💜

I can imagine him doing a lot of lives on a daily basis, posting a lot of pics and videos in social media, maybe releasing new songs?(I hope so🥺), time passed really fast btw...But I'm glad he'll be back soon, I love him so much😭😭😭😭❤️❤️❤️❤️❤️

I hope to meet BTS someday, and go to their concert at least once in life.. I'm a pretty old army but I never went to their concerts :( Well except the online ones lol(Bang Bang Con, ON:E..)

CAN'T WAIT FOR JIN😭😭💜💜💜

#ask #asks #ask game #send asks #bts #bangtan #bangtan boys #kpop #bts army #btsarmy #army #bts ot7 #kim seokjin #jin #bts jin #jin bts #bts seokjin #seokjin bts #jinnie #seokjinnie #방탄소년단 #김석진 #석진 #진 #방탄소년단 진 #borahae #apobangpo #i purple you 💜 #bts military service #bts military enlistment

[kanmom51]

Jikook and the day counting

I’m going to start this post by saying this is an opinion post, the numbers are there, if they mean something only JM and JK know.  It’s up to each and every one to decide for themselves if they want to see it as meaningful or not.

In any case I felt I had to share this with you.

Day counting is something Jikook do.

At first it might have seemed to me like a coincidence but there are too many of them, and I think the instance that totally convinced me that they do this, that this is something important to them, was JM standing up at the Seoul concert with his “2nd grade, class 3, number 15″ on the 2315 day count from 8 November 2015.

This is re-occurring with the two.  Something that I, for one, have decided not to ignore, even if it’s not something practiced in my own culture.

Yesterday both JK (first) and JM (second) posted a sum of 3 posts.

I do know there was math done about the post times (see end of my post for links), even talk about the clip JK chose to share, the timing, the lyrics, but that’s not what I wanted to talk about here.

What I did want to talk about was the day counting once again.

Looking at these 3 posts of theirs, seemingly there is no connection.

Both posted on 10/08/2022 consecutively (JM’s post came 37 min. after JK’s last).

First of all, them posting consecutively isn’t something that happens too often.  It happens, but usually we find some kind of link, a thread between the two posts, a reason, like after the hickey came out in the MOTS ON:E dvd.

So, yesterday I was asked if I find that thread, a connection.  If I think the posts are linked somehow.  Is there a reason JK and JM both posted consecutively.

I didn‘t have an answer because on the surface the posts seem to have nothing to do with each other.  

Nothing that on the surface connects JM and JK together (well, apart from JM’s T-shirt, one we are familiar with, one we’ve seen him wear in the past, one that says “to the moon and back”, when there is one specific person I know of that JM said he would go to the moon with..).  

No shared thread between the three posts, not on the surface.  

JK is promoting Bad decisions and sharing a photo from his Vlog, while JM is sharing a photo with Tommy Brown  (that was already shared by Tommy Brown on his IG account).  Supposedly nothing what so ever to connect those three posts.

And then I saw this Twitter post this morning.

And I went oh...

Really?

A coincidence again?

That the day count from 10 August 2022 to 8 Nov 2022 is:

91

days

13

weeks

3

months ???

JK’s birthday being 9/1 (or 1/9 depending where you are from)

JM’s number being 13, his birthday 10/13 or 13/10 (9+1=10) 

Them posting a sum of 3 posts.

And I noticed something else too...

2+1+8+4=15

This part has to be a coincidence.

The way these numbers align, is it a coincidence once again?

Knowing JM does the day counting.

Seeing all these numbers, I am having a hard time trying to convince myself this is only a coincidence, again.

*Side note:  The same Twitter account did a couple of interesting math posts too, looking at the two photo posts JM and JK posted.  Worth looking at too:

#Jikook #Kookmin #Minkook #Jimin #JM #Jungkook #JK #Youtube

[reflectonlike]

I just listened to Louder than bombs for the first time in like 2 years and what a piece of art 🩶 MOTS7 in general is.

I remember watching the ON:E concert at iota o’clock with my cousin and crying horribly (the boy during Inner Child made me sob and Jimin with his outfit change had me gagged and I actually Paid for the concert lol ) because it was so good? I don’t know if I would feel the same now, but back then I was so enamored by them that I was eating up everything.

But anyways, Louder than bombs is that queen for me, it was on shuffle the whole pandemics and when the 2 broadcasted concerts ended and they didn’t sing it I was AGAIN crying because she was my favorite that I was rooting for but then the era ended and bye LTB skksndksjd.

The song, for me, has three highlights, even though I give her a solid 10 because she is my baby and I am biased like that BUT Jimin Taehyung and Jhope (because of his adlibs. Have I told you I am a s*cker for well executed adlibs?) Jimin and TH have such different vocal ranges but they have a distinctive factor when they sing and I firmly believe that when you listen to a BTS song (specially when you don’t know them well) both their voices sharp and deep are THERE and you are obligated to listen to them creating such a pretty contrast. While JK is like the neutral and bridge between both playing the harmonization part alongside Jin. Or at least thats how I feel about the song in particular.

When I listen to a song I am more feelings driven so whatever makes me feel a certain way, I appreciate, and I really really appreciate those three members parts, it’s like they are feeling it too. The “aaaah” (?) still haunts me and Jimin (and Th) just nailed it.

#music appreciation

[cosmicdreamgrl]

thanks for following my kpop blog! i’m a pretty new army and glad to find others on here :) what are some of ur favorite bts moments? and do you have a bias?

hi, of course, i'm always happy to meet fans both new and old in this space 🥰 ooh, that's difficult to pinpoint but i'll narrow it down to three that are very personal for me:

the first time i ever saw them live in japan for the sys tour, it came at a very rough point in life for me and just for that almost 3 hours that day? i found a reason to be happy again, and it made me understand how much they would eventually come to mean to me

going to see bring the soul in cinemas, i went by myself and i remember watching that (i'd get around to the documentary series soon after) and was in awe of their work ethic, passion, dedication, talent and tight knit bond with one another. there were so many lessons to take away from that, and i know i still carry them with me 'til this day

like a lot of people, i had tickets to the mots tour but the pandemic happened and the tour was eventually cancelled and it broke my heart tbh. all i wanted was for an album i love to get its flowers and while we got the mots on:e online shows? it'll never replace the what could've been y'know. so when the ptd in los angeles shows happened, i had to go and my god, it was an emotional time. there is nothing quite like a bts concert, the energy and sense of community is unparalleled

to answer your second question, i do have a bias. it would be this man, and it seems like he'll be the only one i'll ever have, which is fine. i love him but he is lowkey a menace 😂

#asks #mutuals #stevenstrange

[jimin-updates]

Yesterday marked the four year anniversary of the release of MOTS:7 - so it’s been four years with Jimin’s masterpiece, Filter!

When the album dropped, Filter immediately began breaking records and was Jimin’s second song to cross 500,000 sales in the US.

Filter is also only one country away from an Apple Music all-kill, having charted at number one in 118 of the 119 possible charts (only the U.K. remains).

#jimin #park jimin #bts jimin #four years with filter #mots: 7

[reflections-in-a-critical-eye]

Framing Gender Identity Through Masquerade. Hybrid Masculinities in Jimin's Photo-folio

Up until the release of the photo-folio Me, Myself, And Jimin 'ID: Chaos, the performance of Filter for the online concert ON:E has been in the latest years, the most relevant representation of gender performativity for the artist. Jimin made use of visual and dress markers in order to exhibit the ways in which he can play with the idea of destabilizing conventional gender distinctions, but ultimately to ascertain a more conventional masculinity by changing the focus on the sexual undertones of his performance in order to maintain his power over how he is perceived and filtered by the audience. Through the concepts in the photo-folio, he is taking many steps further, committing to a more nuanced portrayal of identity.

This analysis will look at various instances of gender performativity and will identify types of masculinities as taking on different roles in order to demonstrate the way in which Jimin is exerting his subjectivity. Moreover, gender performativity will also be characterized as a form of masquerade and how it becomes a method through which the subject is able to take on those roles, by creating various personas through the use of dressing and how they are used as a metaphor for identity.

By framing these roles as carrying certain visual markers which pertain to a more Western cultural sphere, it is necessary to take into consideration the danger posited by such a position, especially given the fact that masculinities are also influenced by race, class and other, more specific and local classifications. In trying to avoid turning the analysis into one which might be framed as orientalist thinking, I will use Adam Geczy's definition of transorientalism (2019), in which ''a stable cultural identity is really an agglomerate of signs, which, as with any linguistic system, are in the constant process of modification and change''. Globalization, as much as it's a term used more predominantly for the economic sphere, it exists culturally as well, especially given the present use of online connectiveness and the facilitation of crossing physical and metaphorical borders. The position taken in this essay as well, as Geczy understands it, is that identities become a blend or a composite, not parallel to one another. These identities can be material and cultural and can coexist ''in different frameworks at different times''. Such distinctions are made possible today, as they encompass a wider meaning of cultural exchanges, and not just one in which the West is imposing its presence and power over an imaginary East, as Edward Said conceptualized it. These nuances are important because transorientalism explains the fact that cultural identities can be transacted, and not just overpowered by a dangerous West over a helpless East. It also helps in steering away from the danger of nationalistic discourses over identities that disregard the influence of globalization and how identities can reach outside imaginary borders.

Hybrid masculinities versus hegemonic masculinities

Contemporary understandings of masculinities are nowadays understood as hybrids. More often than not, it is applied to white, middle class heterosexual men who borrow elements of non-hegemonic masculinities in order to construct their gender identities through the situational use of feminine or gay aesthetics or more precisely, marginalized identities (Bridges, Pascoe 2014). The vital question that needs to be asked in this context is if hybrid masculinity maintains or actually challenges gender inequality and if ultimately, remains a tool that keeps intact the gender order, or what it's called masculine balance (Young 2017). In most cases, hegemonic masculinity remains intact in situations in which men are able to mark their bodies, usually through dress, in order to perform a hybrid gender identity, but only in situations that allows them the freedom to do so, while at the same time, having the privilege to de-mark their gender performances when it's no longer suited, usually in the cases of reestablishing their hegemonic, normative masculinity and consequently, their heterosexuality.

The concept of hybrid masculinities has been recently used in an analysis of G-Dragon's gender identities across various media contents, specifically because gender acts are also situational (Kim & Lopez, 2021). G-Dragon's case is relevant for this analysis, as it's a case study of a K-Pop idol known for his thought-provoking gender performances. For Kim and Lopez, K-Pop has fashioned and promoted what they call manufactured versatile masculinity – one in which soft masculinity can coexist within the paradigm of conventional hegemonic masculinity. For the authors, G-Dragon's appearances in some music videos and photoshoots may appear and sometimes actually are non-conforming, but they always end up being balanced with situations in which the artist is reaffirming his normative, heterosexual masculinities. If G-Dragon is queering his gender in spaces which offer him that freedom, specifically those that require a more artistic and creative medium, such as a photoshoot, a public appearance on a television program or a performance during a concert become the spaces in which he balances that queerness by stressing a hyper masculine act, through resistance of irreverrance. Ultimately, the fact that G-Dragon is in the position in which he can choose and has the power of achieving that safe masculine balance, is seen as proof of how gender hierarchy is still intact. Despite that, there are scholars, such as Chuyun Oh and David Oh (2017) who see the mere use of queer aesthetics as perhaps a first step on challenging heteronormativity because it does manage to destabilize, even if it happens situationally, the gender system. One conclusion to this on going debate is that recognizing and acknowledging the effort and openness of presenting non-normative masculinities is one that needs to be taken into consideration, while at the same time, remembering that the possibility of choosing when to do so only exists because men have the power to do it though their gender privilege. It doesn't mean it completely cancels the fact that heteronormativity was being challenged.

Looking at the subject of this case study, another K-Pop idol from a different generation, with a different journey, but one that also challenges normative notions of masculinity, can we situate him in the same paradigm as G-Dragon? The answer is yes and no. Like GD, Jimin is more comfortable and more explicit in queering his gender performance in more artistic situations, such as photoshoots or a song performance. The difference is that Jimin (the present one, and not the one who's initial idol persona had to always reaffirm hyper-masculinity) is an idol that doesn't resort back to hyper-masculine acts or tries to loudly reaffirm heterosexuality in order to create that masculine balance. Instead, we find an absence of those situations, in which privacy offers the opportunity of not having to actively challenge the non-normative, carefully crafted masculinity, which seems to receive utmost attention and focus. But what does it say when that happens only in the context of artistic expression? I posit that it shows a form of privilege as well, one in which Jimin has the possibility of exerting his power in creating a hybrid masculinity, one that we'll see later in the analysis, when he takes on different masks and roles, in which his gender identity is a mixture of personas that makes use of aesthetics as a way of keeping a form of distance.

Masquerading gender identity. The Dandy, The Youthful Boy, The Lesbian Butch and The Dominant

The body is now considered to be a canvas, in which the social body can carry different meanings, mediated through culture and social norms. Dressing the social body turns it into a site for creating identities. For Efrat Tseëlon (2001), the concept of masquerade is a better suited paradigm for the 'clothed body' because it touches on the conscious and also unconscious use of disguise. More precisely, 'If the concept of masking evokes an epistemology of authentic identity (‘behind the mask’), locating it on the epistemological side of the notion of performance moves it away from ‘authentic identity’ and closer to ‘an appearance of authentic identity’. Finally, masking, more emphatically than performance, relies as much on visual artefacts as on metaphorical disguise'.

The reason why masquerade is a useful paradigm for the analysis of the concepts created by Jimin in his photo-folio is precisely the notion of the appearance of authentic identity. And this appearance becomes more obvious if we categorize each concept as a role, a specific character that Jimin decides to portray because it offers the frame through which he can express different identities, ultimately queering his gender performance.

In the Light & Darkness concept, we have what can be visually considered the image of a man dressed as a 19th century troubled bohemian. A melodramatic portrayal of suffering beauty, surrounded by broken mannequins, traces of other selves. It's interesting to note how the visual imagery and particularly through dressing, shows Jimin taking the role of a dandy. James Adams (Dandies and Desert Saints 2018) mentions that in Victorian society, masculinity was about doing gender, rather than being. It was a performative act, before non-normative masculinities were seen as pathological. One of those masculinities was the dandy. Despite no definitive notion of what the dandy was in its entirety, it was considered first and foremost, a masculinity that at that time, managed to blur the lines between sexual orientation. For Geczy and Karaminas (2018), 'the dandy strove for calm and relaxed expression. Simultaneously, he was a mixture of smouldering passions and sangfroid hidden depths masked by desuetude – what we might call the romantic epitome of cool. As Charles Baudelaire emphasizes, ''The dandy is blasé, or pretends to be so, for reason of policy and caste''.

In the making of video for the photoshoot, Jimin mentions that the concept shows 'a side within me that is full of thoughts, worries, and is a bit lonely'. His reflection of inner struggle is expressed through taking on a role. One that puts him in the position to be looked at, for his suffering to be admired, as his beauty takes center stage in a space that most likely, express that loneliness. He is confined in a poorly lit room, in which the inanimate object – the mannequin – becomes the visible bearer of a fragmented and tormented soul. Jimin is transferring his feelings in order for his own body to remain intact. It can be seen as a sign of vanity because no matter what he might be going through, the need to maintain a perfect appearance, with a blasé attitude works as a protective shield. There must be beauty even in suffering.

The 19th century Victorian influence seems to permeate another concept, despite not being quite obvious. Its traces are found including in the Color: Freedom concept, specifically through the use of objects – the bust of a Greek goddess and yet again, a celebration of beauty, now more directly associated with youth. All these elements are reminiscent of the Victorian obsession with Hellenism. More particularly, the projection of their fantasies in order to have the ability to show though symbol and metaphor what was not deemed appropriate in a socially constricted society. It's a temporally and spatially localized theme, but one that can be transposed presently in the context in which symbolism is a needed tool for self expression.

Hellenism in the 19th century had multiple functions. Used as a basis for beauty standards, but also as an inspiration for homoerotic works. Oscar Wilde's The Picture of Dorian Gray is a clear example of that and a connection with Jimin's continuous focus on youth, makes this correlation valid: 'Wilde writes for Lord Henry a monologue of hyperbolic and intense flattery that, as if in passing, but really with great rhetorical care, calls Dorian's attention to his own beauty: to his ''rose-red youth'' and his ''rose-white boyhood''(Heacox, 2004). Jimin wearing a colorful crown, with heavy makeup, visually positioning himself next to a Greek bust, while dressing himself in what looks like a more contemporary display of youthful dressing style, transforms himself in the ultimate Hellenistic fantasy. The boy who remains forever young, the image of someone who is untouchable, who can precisely exist in such a way only if he remains a fantasy, like Thomas Mann's Tadzio. What Jimin shows here is a character. He plays the role of the youthful boy, he wishes to remain that way forever and only though this role, he is able to gain his freedom. One that can only be expressed through visual metaphors.

In what can be considered one of the most fascinating concepts in the photo-folio, this particular gender performance is the most intricate one. It's no wonder that a few reactions to Jimin wearing what looks like a 1920s suit, associated his dressing with Victor/Victoria (1982) or Marlene Dietrich. Here, we have what Judith Butler calls drag as subversion of gender roles through the parodic imitation of those gender roles (Gender Trouble). And that parody and consequently the subversive element cannot exist without gender roles. In Victor/Victoria, the character of Julie Andrews is (in her own words), 'a woman who acts like a man who acts like a woman'. Despite the film ultimately affirming binary gender roles, Veronique Fernandez (2001) argues that in the instances in which Victoria acts as Victor, her ''appearance in masculine clothes can be seen as an image of lesbian style'' one that is visually connected to Marlene Dietrich. In her analysis of the double drag, Kennison (2002) explains that Dietrich's image was made out of incorporating classic elements of lesbian butch dress, as well as traditional elements of gay drag, which not only contributed to the erotic element of her performances, but also showed the power she made use of.

In order to explain the association between Dietrich and Victor/Victoria and Jimin's dress choice, I will make one last detour to filmic analysis, that of James's Dean character in Rebel Without a Cause. Marie Cartier's thesis is that through that role, James Dean presented a new type of masculinity, created post war, by the butch women in the urban culture. For a more nuanced interpretation, Cartier calls Dean's presentation as a 'slyly constructed butch' and ascertains that, in the vein of this new 1950s masculinity (of which Marlon Brando famously embodied as well) is that  the man acted as a butch woman. The arguments as to why Dean's persona can be seen through this interpretation are one side, behavioral (the actions and dialogue of his character in the film), but also presentational, by choosing to dress himself in the fashion of a lesbian butch.

In the suit concept, to quote and at the same time change the order of the drag, Jimin is a man that looks like a woman that looks like a man. Except, instead of using an outdated understanding of what it means to transgress gender roles, just as James Dean's presentation was that of a 50s butch woman, Jimin's presentation is a 1920s butch lesbian, specifically the way in which it was embodied by Marlene Dietrich. It shows not only the artificiality of socially constructed gender roles, but also the means through which multiple instances of masculinities can coexist in the social body, through dress and through a decision of marking one's body in order to queer the gender performance.

The last role Jimin takes on is that of the Dominant who uses fetish fashion and objects in order to show the side of his inner self that has to be in control once again, through masquerade. For Valerie Steele (2001), masquerade and sexual identity are interlinked, in which fetish fashion is now a way of constructing a sexual identity. In Jimin's photoshoot, he wears leather pants and gloves, completing the fetishist look with a mask that covers his eyes, a prop used by a dominatrix and a slave as well, each for different purposes. In Jimin's case, he acts the role of the dominant. This particular type of fetish representation, ''black leather, its feel, smell, and touch, as well as its associations to animal skin and its predatory impulses, induce sexual excitement with their connection to discipline and domination'' (Geczy, Karaminas, 2018). In this concept, Jimin presents himself as a sexual being, focusing on a very specific erotic imagery and role. Taking on the role of a dominant, he once again shows the need he has for control, a motif that has its more visible origins in Filter. It also shows he still needs to keep parts of himself hidden, perhaps offering a peak through disguise, on taking upon himself a persona through which he can communicate. Showing himself in a fetish fashion accentuates the theatrical and artificial construction of this part of his self, in which artistic expression becomes a safe method to do that.

As with Filter, and in the Light & Darkness concept, the mannequins are present here as well, introduced by Jimin as his other selves. They appear wearing a black suit and a mask, in a setting in which Jimin stands out, wearing white. It shows an objectification of self, of being able to look at various forms that are once part of him, but also can be seen as the filters through which others are seeing him. In this instance, Jimin takes on the role of the observer, while at the same time he's being watched, as he is surrounded by the mannequins – the former, artificially constructed selves.

A fragmented, controlled self?

Jimin's journey of self discovery is shown in this photo-folio through his gender performances. He finds a freedom in the context of artistic expression through the use of various roles he takes upon himself. His inner, raw self, as he explicitly mentioned in one of the teaser videos, is one that can be shown through disguise, which in turn, allows him to be in control of every narrative, of every role he plays, of the different forms of his hybrid masculinity. Jimin finds refuge in drag, in its subversion and exaggeration. The question is if his inner self is still kept hidden, a part that is not for public consumption to be analyzed and scrutinized, or its nothing but a fragmented self in which various personas coexist and which can rise to the surface as long as Jimin is completely in control of how he wants to be perceived?

List of references:

Marie Carter, The Butch Woman Inside James Dean or 'What Kind of Person Do You Think a Girl wants?' (2003)

Rebecca Kennison, Clothes Make the (Wo)man: Marlene Dietrich and 'Double Drag' (2002)

Veronique Fernandez, 'People Believe What They See': Clothing And Gender(s) in Victor/Victoria (2001)

Joanne Entwistle and Elizabeth Wilson eds., Body Dressing (2001)

Minjeong Kim and April Lopez, The deployment of gender for masculine balance: analyzing multi-platform K-Pop performances (2021)

Thomas L. Heacox, 'Idealized Through Greece': Hellenism And Homoeroticism in Works by Wilde, Symonds, Mann and Forster (2004)

Adam Geczy and Vicki Karaminas, Fashion and Masculinities in Popular Culture (2007)

Adam Geczy, Transorientalism in Art, Fashion and Film. Inventions of Identity (2018)

Ben Barry, (Re)Fashioning Masculinity: Social Identity and Context in Men's Hybrid Masculinities through Dress

#bmt blog #jimin #jimin photofolio #jimin gender performance #jimin masculinities #bts #k-pop

[bts-bangtanies]

BTS Exhibition ‘Map of the Soul ON:E (오,늩)’ 🚂🚆🚇🖼️🚊🚉🚈 online virtual exhibition in association with the ‘Map of the Soul ON:E online concert ⛲️ (10 - 11 October 2020 🎤) photo scans 🤲🙀👐 - 13 October to 12 November 2020

#bts #bangtan #bangtan sonyeondan #map of the soul on:e

[theharrowing]

it’s so wild being pandemic army and remembering the era of concerts performed to screens.

i remember mots on:e and how their energy seemed so low. they did their best!!! they wanted to put on a good show!!! but something was clearly missing. and when they realized they had a digital audience, the energy picked up, but you could really tell something was missing; something bone-deep, something visceral, past all the sinew, down to the marrow.

i feel grateful that i have since seen BTS and Yoongi live. 🥰🥰🥰

[bangtanpurplearchive]

2023 BTS 방탄소년단 10th anniversary Festa

Due to a limit on links and pictures the post doesn't have them all. The google doc attached does have all the links and pictures.

2023 10th

230530

230530 | BTS Festa Timeline 1. 

230531 

230531 |- FESTA 2023 announced

230531 | BTS 10th anniversary digital single ' #TakeTwo ' will be released on 9th June

230602 | 2023BTSFESTA BTS' Apobangpo 10 Project. 

230602 | BT21 The best present for UNISTARS? (1)

230602 | A Piece of 'Take Two' - light - RM.

230603 | UNRELEASED DANCE PRACTICE VIDEO 1 (Anpanman). 2 (Boy with Luv) 3. (Concept trailer). 4 (Boyz with fun). 5 (I’m Fine). 6 (I Need U)

230603 | 2023 BangBangCon poster 1. 2. 3.  Concert in your room 1 (5th Muster Seoul). 2  (2021 Soowoozoo). 3 (Map of the Soul ON:E)

230603 | A Piece of 'Take Two' Begin - Jin.

230603 | BT21 2023BTSFESTA 1. 

230604 | 2023BTSFESTA A Piece of 'Take Two' - SOUL - SUGA.

230605 | A Piece of 'Take Two' - j-hope TOGETHER 1

230606 | A Piece of 'Take Two' - Jimin - FACE.

230607 | A Piece of 'Take Two' - V - YOUNG. 

230607 | 2023BTSFESTA] 607'지민 (Jimin) - 편지 (Dear. ARMY)' Live Clip. 1. 

230608 | A Piece of 'Take Two' - Jung Kook - STAY. 

230608 | 2023BTSFESTA BTS '아포방포10' Project Photo.  BTS (방탄소년단) '아포방포10' Project.

230608 | JeJu air 1. 

Twitter: Big Hit. 1.  Instagram: BTS 1. 2. RM 1, 2. 3. 4.  Yoongi 1. Jhope 1. Jimin 1. Tae 1.  Weverse:  JK 1 

230609 | Take Two digital single released. Tik Tok 1. 2. Deezer 1.  BTS broke the record for the fastest song by a Korean/K-pop act in history to reach #1 on US iTunes in just 1 hour & 10 minutes. 1. 

230609 | 2023BTSFESTA - D4.

230610 | #TakeTwo goals achieved in 24 hours: 1. #58 Apple Global chart 1.  ‘Take Two’ by BTS debuts at #1 on Global Spotify with 7.27 million streams. It also debuts at #17 on US Spotify with 790k streams 1.

230610 | [Notice] BTS 10th Anniversary FESTA Partner Event Guide 1

230610 | You Tube Music 1. Spotify 1. Amazon music 1. Apple music 1. Deezer 1. Pandora music 1. Tidal 1. Amazon music 1. 

230610 | Pdogg instagram story 1. 

230610 | BTS x Photoism 1.

230611 | 2023BTSFESTA - instagram filter 1. 2. 

230611 |2023BTSFESTA BTS EXHIBITION '오, 늘' FILM CAMERA Photo (B side ver) 1. 

230611 |2023BTSFESTA 10 Years on Twitter - Special Question- What would you say in a tweet to dear ARMY, who have been with you all this time? RM. Jin. Yoongi. Hoseok. Jimin. Tae. JK. 

230611 | (Q1) - Response 1. 2.  (Q2) Response 1. 2.  (Q3) Response 1. 2.  (Q4) Response 1. 2.  (Q5) Response 1. 2.  

230612 | Seoul Metropolitan Government 1.

230612 | Samsung Mobile instagram reel - Jimin 1.

Instagram: RM 1, 2. 3. Jin 1. Yoongi 1.. Jhope 1, 2. 3.  Jimin 1.  Tae 1. Weverse: Jin 1. JK 1. 

230613 | Exclusive Content for Weverse Members Happy 10th anniversary 1.

230613 | Spotify 1 .  Yonhap News 1. Melon 1. 2.  Visit Seoul 1. NME Asia 1. 

230613 | Son Sung Deuk 1. 

230613 | BTS (방탄소년단) 'Take Two' Live Clip #2023BTSFESTA. Focus clips RM. Jin. Yoongi. JHope. Jimin. Tae. JK. 

230614 | Jimmy Fallon The Tonight Show instagram 1.  Elle India 1. Spotify 1. 

230614 | 'Take Two' Live Clip Photo Sketch #2023BTSFESTA 1.

230615 | Samsung mobile - Yoongi 1. 

230615 | Official BTS Big Hit Take 2 live clips 1. 2. 3. 4. 5. 6. 7. 8. 

230616 | 'Le Jazz de V' Live Clip #2023BTSFESTA 1. 2.

230616 | BTS x Photoism 1. 2. 3. 

230616 | Official BTS Big Hit IG Story 1

230616 | Seoul Metropolitan government 1. 

230617

Twitter: Big Hit 1. 2. 3.  Instagram: Big Hit 1. 2.  RM 1, 2. 3. 4. Weverse: Jimin 1. Tik Tok 1. 

230617 |  BTS 10th Anniversary Fireworks Show 1. 

230617 | It's 5 PM, and This is Kim Namjun. #2023BTSFESTA 1. 

230617 | BTS 10th Anniversary FESTA 여의도 Special Selfies 1. 

230617 | BTS presents 1. 2. 3. 4. 5 (RM- Wildflower). 4 (Pop-up Quiz) (trans). 5. 

230617 | Seoul Metropolitan Government instagram story 1. 

230618

230618 |  BTS PRESENTS EVERYWHERE 1 official Tik Tok. RM. Jin. Yoongi. JHope. Jimin. Tae. JK. 

230618 | Slow Rabbit IG Stories 1. 

#BTS2023festa #bts #bangtan soyneodan #방탄소년단 #namjoon #seokjin #yoongi #hoseok #jimin #taehyung #jungkook #bts 10th anniversary #bts 10th festa #bts take two #bts festa 2023 #archive purple #purple archive

[stormblessed95]

Hi! I was wondering if you had made a post about Jimin and yoongi talking about old videos that they watched and jungkook had said that he watched them with Jimin at home? I’m sorry for not being more specific but I can’t really remember more from this moment or where it could be from.

Thank you!

It's from the MOTS ON:E DVD Disc 3, watching No More Dream and other old MVs at home:

Link to full video here:

Hope that helps and is what you were talking about 🥰

#jikook #kookmin #content finds