今日8月23日の日曜版は夕方6時の公開となります。
エナメル
Today's Sunday edition, August 23, will be released at 6:00 p.m.
Enamel
Enamel
ネットの海を回遊するは、匿名の蝶の群れ
O先生によるエナメル紹介
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ブログ更新通知機能付きRSSリーダー - ブログチェッカー
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うっかりカツカツやって来て、うっかり居ない。( By O.) |
2026/08/23
インドは大都会・インドのムンバイは大都会 / India is a metropolis; Mumbai, India, is a metropolis. / The Rover
『俺たちにはムンバイの力が宿っている』
" Netflix ドキュメンタリー
食べて・踊って・夢を見て インド・ムンバイより "
ムンバイ市域人口は1,248万と世界でも有数。
ムンバイ新市街として建設されたナビムンバイ（新ボンベイ）やムンバイの衛星都市として発展してきたターネーなど周辺の大都市をも含めた都市圏人口は、2016年時点で2,288万人であり、世界第6位の巨大な大都市圏を形成している。
（中略）
また、アメリカのシンクタンクが2016年に発表した世界都市ランキングにおいて、世界44位と評価されており、インドでは首都ニューデリーを上回り首位である。
天然の良港に恵まれていることもあり、国全体の海上貨物の半数以上を担う港湾都市でもある。
ウィキペディア ムンバイより
私の住む国は長い間、私がまだ小学校に上がる前位から、インドはガンジス川を中心に構成された日常で、主要都市の世界第2位か確か1位の人口数を誇り、数字のゼロを発明した国なのに、とても貧困で気の毒な程ご苦労されていて、インドに私の住む日本人が行くと、人生観が変わり、カレーはスパイス・カレーしか受け付けず、何か精神的に開かれ悟りを持ち達観した人間になれると2026年の今でも信じられていました。
先日、久しぶりにNetflixを見ていて、ミッドナイトアジアというドキュメンタリーを見つけインドのムンバイのバーテンダーさんがこのドキュメンタリーシリーズのメインビジュアルに使われていたので、観ると、大都会でした。
NYと比べても引けを取らないくらい大都会でした。
風土は西洋とは違いますが、一見してベトナムの景色に似ているなと感じ、私は食い入るように生まれて初めて見る大都会のインド・ムンバイという都市の景色を見つめていました。
多くの人々がムンバイに渡ってきて、沢山の人生を繰り広げている、シャープで洗練されたエネルギーに満ちた都会のカオスが存在していました。
スパイス・カレーなんて何処にも無い。上半身裸の痩せた男性が沐浴もしていない。
道を牛は歩いていない。
夜中80年代前半のロンドンを思わせる、少し暑い藍色の若さの夜が爆発していました。
電車は当然金属で、マカロンは素敵なピンクのネオンで素敵にキュートでKAWAIIショップで売られ、女性たちにもカップルにも大人気でした。
コロニアル建築洋式の流れを組む、美しい歴史建造物が街にあり、ラップを歌う現代の吟遊は、満員の若者のクラブステージでダイナミックに内面をクールに冷静に語り、冷徹とも言えるクレバーとノーブルの渦が若者と青年達をハンズアップさせていました。
誰も感動し過ぎない。強く、上昇していく都市の新しさだけがが時折サリーを纏った文化の違いだけが在る、私の胸のギヤマンを爽快に打ち砕き、ダイヤモンドを沢山沢山降らせて、大好きな雨のように、今も水滴の中に満ちた敬意とゼロと哲学の化学記号の液体をみなぎらせています。
インドは大都会でした。
こんなに美しい都市があるのか、と言う程、夜が大きく帆を広げていました。
その話をすると、ぐったりした声で「日本のコーディネーターがバカなんだよ」と今までの間違いまくった日本にしか無いインドを詫びる方が言いました。
コーディネーターはきっと日本人か、あまりインドを知りたい人の気持ちに沿わず、その人達が見たいインドを見せ続けていたのでしょうね。
私の住む国の数十年間も。
誰も知りませんでした。
インドがNYと匹敵するムンバイという大都市を持つなんて。
まだ制服を着ていた頃、私は妙なテレビ番組を深夜見たことがあります。
それは民法で、確か南アメリカだったと思う。
何かの遺跡が何故か南アメリカにあり、それは歴史的にも大発見で、日本の民法のクルー達がアメリカのTVを通して、その遺跡までの誰も知らない道を自分は知っている、という現地のコーディネーターを車に乗せて、日本、アメリカ、多分現地の肌の色は白でも黒でも黄色でも無い、よく分からない男性とで撮影クルーはそこまでの道のりをドキュメンタリーとして録画し、何故か撮影クルーのディレクターが主にアナウンスをしていたと記憶しています。
深夜2時頃に見終わった記憶だけが残っています。
私は自分も国内で受けたことがある差別を、その放送内で見ていました。
撮影クルーは何度も道を間違える現地コーディネーターに、英語で最初にアメリカのTVの人達に、
「これで合っているのか？ 」と尋ね、
そのアメリカ人TVクルーの1人が現地コーディネーターに確認し、間違い無いと答えたのを伝言リレーで日本人スタッフ達に伝えると言う、暑くて暑くて何も周囲に建物どころか草も途切れ途切れの木も生えていないような道を、延々2台の撮影隊の車だけが、埃まみれで走っていきました。
食事のシーンも映るけれど、子供の私にも分かる程、トラブルの匂いと気配だけが漂うテーブルと店のシーン、どう考えても道が違う。
いつまでも辿り着かない。
アナウンスをするディレクターはもう何回目かの遺跡の大発見を語り、とうとう最後は途中で止してしまった。
現地コーディネータに訊く最後から3回目に、1人、中肉中背のメガネを掛けたシティ・ボーイ的な男性が、
「あいつ、俺たちのこと差別してるよ」とアメリカTVクルーの1番体が大きい白人のことを差して言った声が画面に流れました。
「考えすぎだよ。あいつ（現地コーディネーター）に苛立ってるんだよ。あいつがおかしんだよ」とカメラの手前で誰かが無表情な疲れきった声で答えました。
「いや、差別してるだろ。あれ・・・」
途中で映像は車内に切り替わりました。
また行けども行けども延々のカンカン照りの道と先を走るアメリカTVクルーの車。
現地コーディネーターは何故か日本人クルーの車に乗っており、辿々しく現地の言葉と英語をチャンポンで本人確認を取り始めたら、なんと英語が分からない筈の現地コーディーネーターは現地人では無く、英語も結構分かることが判明し、無線で前の車両に連絡し、車は停車しました。
すると前からあの背の高いアメリカ人男性だけがイライラした大股で近寄ってきて、現地コーディネーターとチャンポンで話した日本人TVスタッフと差別じゃないのか、と言った男性とで3人が外で話していたところ、車内に居るカメラに日本人スタッフが駆け寄ってきて、
「知らないって。酒場で噂話聞いただけだって。道も分からないって」と言うと、カメラが車を降りてダーッと駆け寄って行き、アメリカ人TVクルーのあの男性が、
「何故今まで黙ってたんだ！ おい！ この撮影を切り替えるから、撮影が出来るようにしておけ！」
と日本人TVクルーを指さして命令した瞬間、
「なに言ってんだよっ！！！ ちょっと待てよっお前！俺達は奴隷じゃねーんだよっっ！ おいコラァ！待て！待てっつってんだよっ、オイ！！！」
あのシティボーイの人が全身で怒鳴り、
「何してんだ！差別されてんだぞ！ 俺達に言ったんだぞ！」
と言い捨て、彼を追いかけていく途中で、アメリカのTVクルーの男性はさっさと車に乗り込み、その後突然場面は変わり、
カッチカッチカッチとハザードの音が響く静かな車内で、
冷静な日本TVクルーは再度後部座席に座った現地コーディーネーターによく似せた人に、
「じゃあ、本当に知らないんだね？」
と淡々と確認を取り、その後場面は、
急に態度を改めた大変紳士的なさっきのアメリカ人TVクルーの男性1人だけが、チェックのテーブルクロスの向こうで（きっと向こうのクルーの中でも厄介な人）、
「さっきは感情的になってしまって済まなかった。差別なんてそんなつもりはないんだよ？」
と言い、そして、
「・・・・Then？ 」とスピーチの時の様にテーブルの上に両腕を置いて手を広げて話し、
私が今でもあの人は立派だ。と、
あの人は誰か分からないけれど、私もいつか又差別されたらあの人のようにするんだ。と心に決めたその人は、ずっと向こうを向いていました。
2011年の災害が起こった後、もうそれがいつだったかは忘れてしまったけれど、書籍を購入してサインを頂いた黒いフーディを着たその人の迫力に、何だかあの人に似ているな・・、と古い絨毯の匂いが立ちこめるロビーに据えられた1番奥の机の前で、私はぼんやり思っていました。
エナメル 2026/08/23 03:39
20260823 05:08 文章を直しました。
・
・
・
“The Power of Mumbai Lives Within Us”
"Netflix Documentary
Eat, Dance, Dream: From Mumbai, India"
"Netflix Documentary
Eat, Dance, Dream: From Mumbai, India"
Mumbai’s metropolitan population stands at 12.48 million, making it one of the largest in the world.
Including surrounding major cities such as Navi Mumbai (New Bombay), which was built as a new city for Mumbai, and Thane, which has developed as a satellite city of Mumbai, the metropolitan area’s population totaled 22.88 million as of 2016, forming the world’s sixth-largest metropolitan area.
(Excerpt omitted)
Furthermore, in a global city ranking released by an American think tank in 2016, Mumbai was ranked 44th in the world, placing it first in India ahead of the capital, New Delhi.
Blessed with a natural deep-water harbor, it is also a port city that handles more than half of the nation’s maritime cargo.
From Wikipedia, “Mumbai”
https://w.wiki/4crT
Including surrounding major cities such as Navi Mumbai (New Bombay), which was built as a new city for Mumbai, and Thane, which has developed as a satellite city of Mumbai, the metropolitan area’s population totaled 22.88 million as of 2016, forming the world’s sixth-largest metropolitan area.
(Excerpt omitted)
Furthermore, in a global city ranking released by an American think tank in 2016, Mumbai was ranked 44th in the world, placing it first in India ahead of the capital, New Delhi.
Blessed with a natural deep-water harbor, it is also a port city that handles more than half of the nation’s maritime cargo.
From Wikipedia, “Mumbai”
https://w.wiki/4crT
For a long time—ever since before I even started elementary school—my perception of India was shaped by daily life centered around the Ganges River. Despite boasting the world’s second-largest—or perhaps even first-largest—population in its major cities and being the country that invented the numeral zero, India was seen as a place of extreme poverty where people struggled to the point of being pitiable. It was believed that when Japanese people like me visited India, our outlook on life would change, and I could only tolerate spicy curry, and even now in 2026, I still believed that going there would make me a more open-minded, enlightened, and detached person.
The other day, while watching Netflix for the first time in a while, I came across a documentary called “Midnight Asia.” A bartender from Mumbai, India, was featured on the main visual for the series, so I decided to watch it—and it turned out to be a massive metropolis.
It was a metropolis that held its own even when compared to New York.
Although the culture is different from the West, at first glance it reminded me of the scenery in Vietnam, and I found myself gazing intently at the cityscape of Mumbai, India—a metropolis I was seeing for the very first time.
There was a chaotic yet sharp and sophisticated energy in the city, where countless people had come to Mumbai to live out their diverse lives.
There were no spice curries to be found anywhere. Skinny, shirtless men hadn’t even bathed.
Cows weren’t walking down the streets.
At night, a slightly hot, indigo-hued night of youth—reminiscent of early ’80s London—was exploding all around me.
The trains were, of course, made of metal, and macarons—with their lovely pink neon lights—were sold in cute, “kawaii” shops and were hugely popular with both women and couples.
Beautiful historic buildings in the colonial architectural style dotted the city, and modern troubadours rapping on packed club stages dynamically expressed their inner worlds with cool composure, while a whirlwind of cleverness and nobility—almost ruthless in its intensity—had the young people and youths raising their hands in the air.
No one was overly moved. Only the novelty of this strong, rising city—and the occasional cultural difference, like a woman draped in a sari—shattered the gem in my heart with a refreshing burst, showering me with countless diamonds. Like the rain I love so much, it still fills the droplets with a liquid of respect, zero, and the chemical symbols of philosophy.
India was a metropolis.
The night spread its sails so wide that I wondered if there could be a city this beautiful.
When I mentioned this, someone who had been apologizing for the India that only Japan—with all its past mistakes—had ever known said in a weary voice, “It’s the Japanese coordinators who are idiots.”
The coordinator must have been Japanese—or perhaps someone who didn’t really understand the desire of those who wanted to know India—and kept showing them the India they wanted to see.
For decades in the country where I live.
No one knew.
That India had a metropolis like Mumbai, rivaling New York.
Back when I was still in uniform, I once watched a strange TV program late at night.
It was on a commercial channel, and I think it was set in South America.
For some reason, there were ancient ruins in South America—a major historical discovery—and the Japanese TV crew, via an American TV network, picked up a local coordinator who claimed to know the secret path to the ruins that no one else did. Along with the Japanese and American crew members—and a local man whose skin color wasn’t white, black, or yellow, so I couldn’t quite tell—they filmed the journey there as a documentary. I remember that, for some reason, the director of the film crew was the one doing most of the narration.
The other day, while watching Netflix for the first time in a while, I came across a documentary called “Midnight Asia.” A bartender from Mumbai, India, was featured on the main visual for the series, so I decided to watch it—and it turned out to be a massive metropolis.
It was a metropolis that held its own even when compared to New York.
Although the culture is different from the West, at first glance it reminded me of the scenery in Vietnam, and I found myself gazing intently at the cityscape of Mumbai, India—a metropolis I was seeing for the very first time.
There was a chaotic yet sharp and sophisticated energy in the city, where countless people had come to Mumbai to live out their diverse lives.
There were no spice curries to be found anywhere. Skinny, shirtless men hadn’t even bathed.
Cows weren’t walking down the streets.
At night, a slightly hot, indigo-hued night of youth—reminiscent of early ’80s London—was exploding all around me.
The trains were, of course, made of metal, and macarons—with their lovely pink neon lights—were sold in cute, “kawaii” shops and were hugely popular with both women and couples.
Beautiful historic buildings in the colonial architectural style dotted the city, and modern troubadours rapping on packed club stages dynamically expressed their inner worlds with cool composure, while a whirlwind of cleverness and nobility—almost ruthless in its intensity—had the young people and youths raising their hands in the air.
No one was overly moved. Only the novelty of this strong, rising city—and the occasional cultural difference, like a woman draped in a sari—shattered the gem in my heart with a refreshing burst, showering me with countless diamonds. Like the rain I love so much, it still fills the droplets with a liquid of respect, zero, and the chemical symbols of philosophy.
India was a metropolis.
The night spread its sails so wide that I wondered if there could be a city this beautiful.
When I mentioned this, someone who had been apologizing for the India that only Japan—with all its past mistakes—had ever known said in a weary voice, “It’s the Japanese coordinators who are idiots.”
The coordinator must have been Japanese—or perhaps someone who didn’t really understand the desire of those who wanted to know India—and kept showing them the India they wanted to see.
For decades in the country where I live.
No one knew.
That India had a metropolis like Mumbai, rivaling New York.
Back when I was still in uniform, I once watched a strange TV program late at night.
It was on a commercial channel, and I think it was set in South America.
For some reason, there were ancient ruins in South America—a major historical discovery—and the Japanese TV crew, via an American TV network, picked up a local coordinator who claimed to know the secret path to the ruins that no one else did. Along with the Japanese and American crew members—and a local man whose skin color wasn’t white, black, or yellow, so I couldn’t quite tell—they filmed the journey there as a documentary. I remember that, for some reason, the director of the film crew was the one doing most of the narration.
All I remember is finishing watching it around 2:00 a.m.
As I watched that broadcast, I saw the same kind of discrimination that I myself had experienced here in Japan.
The film crew asked the local coordinator—who kept taking wrong turns—in English, “Is this the right way?” One of the American TV crew members checked with the local coordinator, who confirmed it was correct, and this message was relayed to the Japanese staff. Along a road that was so hot—with no buildings in sight, not even grass or scattered trees—the two production vehicles drove on and on, covered in dust.
Although there are scenes of meals, the table and restaurant scenes are so thick with the scent and atmosphere of trouble that even a child like me could tell—no matter how you look at it, they’re on the wrong road.
We just couldn’t seem to arrive.
The director, who was making the announcements, was talking about yet another “major archaeological discovery,” but finally, he had to stop midway through.
I asked the local coordinator. During the third-to-last segment, the voice of a medium-built, bespectacled “city boy” type of man came over the screen as he pointed at the largest white member of the American TV crew and said, “That guy’s discriminating against us.”
“You’re overthinking it. He’s just annoyed with that guy (the local coordinator). That guy’s the one who’s weird,” someone replied in front of the camera in a expressionless, exhausted voice.
“No, he’s being discriminatory. That guy…”
Midway through, the footage cut to the inside of the car.
As I watched that broadcast, I saw the same kind of discrimination that I myself had experienced here in Japan.
The film crew asked the local coordinator—who kept taking wrong turns—in English, “Is this the right way?” One of the American TV crew members checked with the local coordinator, who confirmed it was correct, and this message was relayed to the Japanese staff. Along a road that was so hot—with no buildings in sight, not even grass or scattered trees—the two production vehicles drove on and on, covered in dust.
Although there are scenes of meals, the table and restaurant scenes are so thick with the scent and atmosphere of trouble that even a child like me could tell—no matter how you look at it, they’re on the wrong road.
We just couldn’t seem to arrive.
The director, who was making the announcements, was talking about yet another “major archaeological discovery,” but finally, he had to stop midway through.
I asked the local coordinator. During the third-to-last segment, the voice of a medium-built, bespectacled “city boy” type of man came over the screen as he pointed at the largest white member of the American TV crew and said, “That guy’s discriminating against us.”
“You’re overthinking it. He’s just annoyed with that guy (the local coordinator). That guy’s the one who’s weird,” someone replied in front of the camera in a expressionless, exhausted voice.
“No, he’s being discriminatory. That guy…”
Midway through, the footage cut to the inside of the car.
No matter how far we drove, the road stretched endlessly under the blazing sun, with the American TV crew’s car leading the way.
For some reason, the local coordinator was riding in the Japanese crew’s car.
When he began stammering through a mix of the local language and English to verify our identities, it turned out that the local coordinator—who was supposed to not understand English—wasn’t actually a local and could understand English quite well. He contacted the car ahead via radio, and the vehicle came to a stop.
Then, only that tall American man from the front vehicle approached with long, irritated strides. The three of them—the local coordinator, the Japanese TV staffer who’d spoken to him in a mix of languages, and the man who’d accused them of discrimination—were talking outside when a Japanese staffer rushed over to the camera crew and said,
“I didn’t know anything about it. I just heard some rumors at a bar. I don’t even know the way.”
Just as he said that, as the camera crew was rushing over, that American man from the TV crew pointed at the Japanese TV crew and ordered,
“Why didn’t you say anything until now?! Hey! We’re switching to this shot, so get ready to film!”
The moment he pointed at the Japanese TV crew and barked that order,
“What the hell are you talking about!!! Hold on a second, you! We’re not slaves, you know!!! Hey, FUKKER! Wait! Hey Listen FUCK OFF EARE, I said wait, HEY BICTCH!!!”
The city boy shouted with all his might,
“What you doing here NOW! We’re being discriminated against! He talking to SLAVES US!”
“Why didn’t you say anything until now?! Hey! We’re switching to this shot, so get ready to film!”
The moment he pointed at the Japanese TV crew and barked that order,
“What the hell are you talking about!!! Hold on a second, you! We’re not slaves, you know!!! Hey, FUKKER! Wait! Hey Listen FUCK OFF EARE, I said wait, HEY BICTCH!!!”
The city boy shouted with all his might,
“What you doing here NOW! We’re being discriminated against! He talking to SLAVES US!”
As he chased after the man, the man quickly got into his car, and then the scene suddenly cut to,
In the quiet car, with the sound of the hazard lights clicking “click-click-click,”the composed Japanese TV crew calmly asked the person sitting in the back seat—who bore a striking resemblance to the local coordinator—
“So, you really didn’t know, then?”
The scene then shifts to
the single American TV crew member—who had suddenly changed his attitude and was now acting very gentlemanly—standing behind the checkered tablecloth (he must have been the troublemaker among their crew),
“I’m sorry I got emotional earlier. I really didn’t mean to be discriminatory,”
and,
The scene then shifts to
the single American TV crew member—who had suddenly changed his attitude and was now acting very gentlemanly—standing behind the checkered tablecloth (he must have been the troublemaker among their crew),
“I’m sorry I got emotional earlier. I really didn’t mean to be discriminatory,”
and,
He said that, and,
“...Then?”
he asked, placing both arms on the table and spreading his hands wide just as he had during his speech,
and I still think that person is admirable.
Even though I don’t know who that person was, I made up my mind that if I’m ever discriminated against again, I’ll do the same as that person did.
and I still think that person is admirable.
Even though I don’t know who that person was, I made up my mind that if I’m ever discriminated against again, I’ll do the same as that person did.
That person kept facing away from me the whole time.
After the disaster in 2011—though I’ve since forgotten exactly when it was—I bought a book and had it signed by that person in the black hoodie. As I sat at the desk at the very back of the lobby, where the smell of old carpets lingered, I found myself idly thinking, “He kind of looks like that person…”
Enamel 08/23/2026 03:39
20260823 05:08 Revised the text.
2026/08/22
BTSは韓国料理を食べる 2 / BTS are eating living Korean food 2 / Internet Media of 2026 Vol.3 / LIFE WORK
BTS（以下バンタン）は大韓民国の外でお仕事をする時、必ず滞在中に1度は韓国料理を食べています。
バンタンはダンスをしながら歌唱するパフォーマンス・スタイルであり、非常に緻密な1年や5年の計画の元、数年に渡る準備と徹底的な（恐らく調べる内容の有史から）調査と解釈を練り、その間、触れられている関連書物や映像、美術に渡り全て調べてから、ご自身達のプロジェクトを組み立てを行います。
BTSは韓国料理を食べる 1で触れた様に、同時にあれ程のウェブコンテンツを創り、そのパフォーマンスをし、楽曲制作を行い、ご自身の興味の学習をされているようです。
どうしてバンタンは緻密なクリエイターとパフォーマー、アーティストと青年の生活をしているのにも関わらず、手配するのが難しい諸外国の社会であっても、自国の慣れた食べ物を食べているのでしょうか？
恐らく環境が変わると体力が削がれるんでしょうね。
私の経験上、日本では夏の暑さが1番体力を削ぎます。
次点は冬です。寒さも実は体力を削ぎます。
なので、初夏バテ、梅雨バテ、夏バテが有り、冬は多くの人々が風邪を引きやすくなり、感染性インフルエンザ・ウイルスも必ず流行ります。
私は実は少し特異体質の様で、普段、殆ど脂っこい物は摂りません。
又、主に強力粉由来のうどんの麺、豆腐から摂取しているミネラル、チョコレート、挽いて落とすタイプのコーヒーを1日に3杯、牛乳はカルシウム分が多く入れてある調整牛乳、野菜を沢山採っています。
何故かは分かりませんが、それが1番体がスムーズに動き、脳や感情が効率良く物事を整理して片付けていく環境を造ります。
普段生活している環境を水とするなら、人間の体自体は魚という環境である。とイメージすると伝わりやすいと思います。
この魚の部分は、実は全部自分自身でコントロール出来るんです。
つまり気温等に合わせた食事と感情の整理の仕方さえ身につければ、そのコントロールは難なく行え、常に自分を効率良く動かし、感情の揺れを持ちながらクレバーな態度を持ち続けられるんです。
故郷を離れた人間が首都東京に居て、ホームシックに掛かると良く言われますが、そうではなく、環境が変わり、体調と新しい情報の処理と整理が追いつかず、または普段のペースで出来ずに、体と脳で疲れて、落ち込みやすくなり風邪等をひき、最後は故郷を思い涙ぐむ。
このフロー（流れ）であるとまずは仮定します。
すると環境が変わるから体力が大幅に削がれる。
という整理ポイントが見えてきます。
またこの仮定から、首都にまで出ていって成功しようとする人は普段、かなり優れたパフォーマンスを身体、知性で出していた。とポイントを発展させて見ると、
普段の食事、そのホームシックに掛かった人が故郷で普段摂っていた食事が、その人を1番良い状態で、体を維持・又は動かし、知性と感情をクレバーに保っていた。
と予測出来ます。
するとこのホームシックというフローで、故郷の食事を食べたら回復して元気になった。というのは、普段の食生活に一度だけでも戻したからだと浮かび上がってきます。
恐らくバンタンが何処の国でも、大韓民国の料理を手配して食べているのは、この効果を知っているからです。
実はバンタンは、撮影中にご自身達の飲むペットボトルの水を、1番上のマネージャーにしか持たせません。
それ程、徹底して身体の管理を行なっています。
まるでアスリートの食生活ですよね。
実は私も特異体質で、ベジタリアンのように思われる食事を摂り続けて、自分の体と精神を維持しています。
きっと私の家の稼業が、身体能力と反射能力、判断能力、感覚能力を必要不可欠とする業種だからでしょう。
同じく、ビジネスマンも同様の身体の徹底管理を行なっています。
無論、バンタンと同じ岸辺に住む芸能人も同様です。
インターネットも同様です。
テレビラジオマガジンと同じ事をしている様に見えても、公開される場所はパソコンから繋ぐオンラインという電気の領域で、動画ひとつ取っても、それは個人に向けて公開し個人がプライベートの感情で受け取っているのか、オフィシャルの感情で受け取っているのか、プラットフォームのユーザー情報を取り、どのような年代が来ているのか、検索ワードでは無く、何を多く読みに来ているか、を解析するのが、データを読むやり方の基礎です。
又、いつも高パフォーマンスでオンライン上に上げる（ネット公開するという意味）文、画像、動画を作っていた状況は以前はどうだったか。
元々アナログのリアル（ネット外の現実という古いネット・スラング）での制作環境と同様か、をチェックしているのだろうか。
マウスでページにアクセスした時、ワン・アクション増やす手間をわざわざ設けていないか？
スマートフォンでは、広告ポップアップ画面を閉じる画面が平均的な成人男性・女性の指先の大きさより小さすぎていないか。
使いやすさをあれ程追求した製品を造っていたにも関わらず、何故オンライン上の画面構成でユーザビリティ（ユーザーの快適さ）を徹底的に追求していないのか。
通信販売のサイトに行くたび、何故全部違うパスワードを毎回要求し、その度にスマートフォンにパスを送り、それを見てパソコンで打ち込まないとログイン出来ず、その間中ずっと客の入店を入口で待たせている状況だと気付かず、何故誰もその手順を短縮しないのか。
電子マネーを1社1種類持っていただけで、全部の主要オンラインストアで買い物が出来ない不便さを買い物客に負担させたまま、10年経過しているのは何故なのか。
いつまで経っても居もしない、部屋を暗くしてフードを被り、懐かしのDOS-V画面から青緑色に照らされた顔で、人と世界を恐怖のどん底に突き落とそうとする人物達が、炎上を仕組んでいるに違いないと、ビクビクし続けているらしいのは何故なのか？（大丈夫ですか？居ませんよ（笑））
インターネットを例にインターネット用語で言うとすれば、
インターネット環境とそこで動くデータ単体の環境（発信する人・キャラクター・商品・音楽）
プラス
発信を受け取り、感情や理性で包んで投げ返すデータの環境
全体のデータの流れ。
これがインターネット発信のしくみの基礎です。
これを深く理解していないと、どのプラットフォームであってもうまくステップは踏めないのではないでしょうか？
次に行くサイトを知っても、前に訪問したサイトを知っても、インターネット上ではシャワー効果はありません。
存在できるのは、エフェクトのみです。
Sampling from Fade Out.
Voice Kyoko Koizumi.All truck Haruo Chikada.
Type change Enamel
"空けて" Quote "開けて" / "嘘" Quote "ウソ"
データを読むやり方の基礎
これは何処かは言えませんが、国内初、ポス・システムオンラインネットワーク・システムのレジを導入した会社の（笑）、データを読むやり方、その項目が何故必要であったのか。
そして早々に切り上げた商品が実はロングセラーになったのはどのような商品で、どのような購買層だったのかを、気になる方はもう一度調べてみると、分かりやすいと思います。
・
・
・
Whenever BTS (hereinafter referred to as “BANGTANG”) works outside of South Korea, they always make sure to eat Korean food at least once during their stay.
BANGTANG’s performance style involves singing while dancing. Based on extremely meticulous one-year and five-year plans, they spend several years preparing and conducting thorough research and interpretation—likely delving into historical records—and during that time, they thoroughly examine all relevant books, videos, and art before constructing their projects.
As mentioned in “BANGTANG Eats Korean Food 1,” BANGTANG simultaneously creates a massive amount of web content, performs, produces music, and pursues their own interests.
Why is it that BANGTANG—despite leading the lives of meticulous creators, performers, artists, and young people—still eats the familiar food of their home country even in foreign societies where arranging meals can be difficult?
Perhaps a change in environment saps their physical strength.
In my experience, the summer heat in Japan is what saps my energy the most.
Winter comes in a close second. The cold actually saps your energy as well.
That’s why there’s early summer fatigue, rainy season fatigue, and summer fatigue; in winter, many people are more prone to catching colds, and infectious influenza viruses are bound to spread.
I actually seem to have a somewhat unique constitution, and I rarely eat greasy foods.
I mainly get my nutrients from udon noodles made with strong flour, minerals from tofu, chocolate, three cups a day of ground coffee, calcium-fortified milk, and plenty of vegetables.
I’m not sure why, but this diet helps my body function most smoothly and creates an environment where my brain and emotions can efficiently organize and process things.
BANGTANG’s performance style involves singing while dancing. Based on extremely meticulous one-year and five-year plans, they spend several years preparing and conducting thorough research and interpretation—likely delving into historical records—and during that time, they thoroughly examine all relevant books, videos, and art before constructing their projects.
As mentioned in “BANGTANG Eats Korean Food 1,” BANGTANG simultaneously creates a massive amount of web content, performs, produces music, and pursues their own interests.
Why is it that BANGTANG—despite leading the lives of meticulous creators, performers, artists, and young people—still eats the familiar food of their home country even in foreign societies where arranging meals can be difficult?
Perhaps a change in environment saps their physical strength.
In my experience, the summer heat in Japan is what saps my energy the most.
Winter comes in a close second. The cold actually saps your energy as well.
That’s why there’s early summer fatigue, rainy season fatigue, and summer fatigue; in winter, many people are more prone to catching colds, and infectious influenza viruses are bound to spread.
I actually seem to have a somewhat unique constitution, and I rarely eat greasy foods.
I mainly get my nutrients from udon noodles made with strong flour, minerals from tofu, chocolate, three cups a day of ground coffee, calcium-fortified milk, and plenty of vegetables.
I’m not sure why, but this diet helps my body function most smoothly and creates an environment where my brain and emotions can efficiently organize and process things.
In other words, humans possess yet another environment within their surroundings—one in which they manage and interpret their physical abilities, mental strength, and emotions.
It might be easier to understand if you imagine that, just as the environment in which we live our daily lives is like water, the human body itself is like a fish living in that environment.
In fact, we have complete control over this “fish” aspect of ourselves.
In other words, as long as we learn to adjust our diet and manage our emotions in accordance with factors like temperature, we can exercise this control effortlessly. This allows us to function efficiently at all times and maintain a level-headed attitude even while experiencing emotional fluctuations.
It’s often said that people who leave their hometowns and move to the capital, Tokyo, get homesick, but that’s not really the case. Rather, when the environment changes, their physical condition and their ability to process and organize new information can’t keep up—or they can’t maintain their usual pace—leading to physical and mental fatigue. This makes them more prone to depression and colds, and eventually, they find themselves tearfully thinking of home.
Let’s start by assuming this is the flow of events.
This reveals a key point:
A change in environment significantly depletes one’s physical stamina.
Furthermore, building on this assumption, we can infer that people who venture all the way to the capital to pursue success typically demonstrate exceptional physical and intellectual performance in their daily lives.
We can predict that the person’s usual diet—the meals they regularly ate back home—kept them in peak condition, maintaining and sustaining their physical health, and helping them manage their intellect and emotions with clarity.
We can predict this.
Consequently, the phenomenon of homesickness—where eating hometown food leads to recovery and renewed energy—becomes clear as the result of returning, even if only briefly, to one’s usual dietary habits.
It’s likely that BTS arranges to eat Korean cuisine wherever they go because they are aware of this effect.
In fact, during filming, BTS only allows their top manager to carry the bottled water they drink.
That’s how thoroughly they manage their physical condition.
It’s just like an athlete’s diet, isn’t it?
It might be easier to understand if you imagine that, just as the environment in which we live our daily lives is like water, the human body itself is like a fish living in that environment.
In fact, we have complete control over this “fish” aspect of ourselves.
In other words, as long as we learn to adjust our diet and manage our emotions in accordance with factors like temperature, we can exercise this control effortlessly. This allows us to function efficiently at all times and maintain a level-headed attitude even while experiencing emotional fluctuations.
It’s often said that people who leave their hometowns and move to the capital, Tokyo, get homesick, but that’s not really the case. Rather, when the environment changes, their physical condition and their ability to process and organize new information can’t keep up—or they can’t maintain their usual pace—leading to physical and mental fatigue. This makes them more prone to depression and colds, and eventually, they find themselves tearfully thinking of home.
Let’s start by assuming this is the flow of events.
This reveals a key point:
A change in environment significantly depletes one’s physical stamina.
Furthermore, building on this assumption, we can infer that people who venture all the way to the capital to pursue success typically demonstrate exceptional physical and intellectual performance in their daily lives.
We can predict that the person’s usual diet—the meals they regularly ate back home—kept them in peak condition, maintaining and sustaining their physical health, and helping them manage their intellect and emotions with clarity.
We can predict this.
Consequently, the phenomenon of homesickness—where eating hometown food leads to recovery and renewed energy—becomes clear as the result of returning, even if only briefly, to one’s usual dietary habits.
It’s likely that BTS arranges to eat Korean cuisine wherever they go because they are aware of this effect.
In fact, during filming, BTS only allows their top manager to carry the bottled water they drink.
That’s how thoroughly they manage their physical condition.
It’s just like an athlete’s diet, isn’t it?
Actually, I, too, have a unique constitution, and I maintain my physical and mental well-being by consistently following a diet that might make me appear to be a vegetarian.
This is likely because my family’s line of work requires exceptional physical ability, reflexes, judgment, and sensory acuity.
Similarly, businesspeople also maintain strict control over their physical condition.
Of course, the same goes for celebrities who live in Kishibe, just like Vantan.
This is likely because my family’s line of work requires exceptional physical ability, reflexes, judgment, and sensory acuity.
Similarly, businesspeople also maintain strict control over their physical condition.
Of course, the same goes for celebrities who live in Kishibe, just like Vantan.
The same applies to the internet.
Even if it appears to be the same as what TV, radio, and magazines do, the medium through which content is published is the digital realm accessed via a computer—the online world. Take a single video, for example: the foundation of data analysis lies in determining whether it’s being shared with individuals who receive it through their personal, private emotions or through an official perspective; analyzing the platform’s user data to identify the age demographics of the audience; and examining not just search terms, but what content people are actually coming to read most frequently.
Also, what was the situation like in the past regarding the creation of text, images, and videos that are consistently uploaded online (meaning made publicly available) with high performance?
Are we checking to see if it’s the same as the original production environment in the “analog real world” (an old internet slang term for reality outside the internet)?
When accessing a page with a mouse, have you unnecessarily added an extra step?
On smartphones, isn’t the button to close ad pop-ups too small compared to the average adult male or female’s fingertip?
Despite having created products that pursued ease of use to such an extent, why aren’t you thoroughly pursuing usability (user comfort) in your online screen layouts?
Why, every time I visit a mail-order site, am I required to enter a different password each time—forcing me to have the password sent to my smartphone, look it up, and type it into my computer just to log in—while the site remains oblivious to the fact that it’s keeping customers waiting at the entrance the entire time? Why doesn’t anyone streamline this process?
Why has it been 10 years now, and shoppers are still burdened with the inconvenience of being unable to shop at all major online stores simply because they have only one type of e-money from a single provider?
Why do people seem to remain constantly on edge, convinced that—no matter how much time passes—some non-existent figures, sitting in a dark room with hoods pulled over their heads, their faces illuminated in a blue-green glow from a nostalgic DOS-V screen, are plotting to plunge people and the world into the depths of terror by orchestrating online backlashes? (Are you okay? They don’t exist, you know. (lol))
To use the internet as an example and explain it in internet terminology:
The internet environment and the environment of the individual data elements moving within it (the person, character, product, or music being shared)
Plus
The environment of the data that receives the transmission, wraps it in emotion and reason, and sends it back
The overall flow of data.
This is the foundation of how internet communication works.
Without a deep understanding of this, wouldn’t it be difficult to navigate any platform effectively?
Even if you know which site you’re going to next, or which site you visited before, there’s no “shower effect” on the internet.
All that exists are effects.
Also, what was the situation like in the past regarding the creation of text, images, and videos that are consistently uploaded online (meaning made publicly available) with high performance?
Are we checking to see if it’s the same as the original production environment in the “analog real world” (an old internet slang term for reality outside the internet)?
When accessing a page with a mouse, have you unnecessarily added an extra step?
On smartphones, isn’t the button to close ad pop-ups too small compared to the average adult male or female’s fingertip?
Despite having created products that pursued ease of use to such an extent, why aren’t you thoroughly pursuing usability (user comfort) in your online screen layouts?
Why, every time I visit a mail-order site, am I required to enter a different password each time—forcing me to have the password sent to my smartphone, look it up, and type it into my computer just to log in—while the site remains oblivious to the fact that it’s keeping customers waiting at the entrance the entire time? Why doesn’t anyone streamline this process?
Why has it been 10 years now, and shoppers are still burdened with the inconvenience of being unable to shop at all major online stores simply because they have only one type of e-money from a single provider?
Why do people seem to remain constantly on edge, convinced that—no matter how much time passes—some non-existent figures, sitting in a dark room with hoods pulled over their heads, their faces illuminated in a blue-green glow from a nostalgic DOS-V screen, are plotting to plunge people and the world into the depths of terror by orchestrating online backlashes? (Are you okay? They don’t exist, you know. (lol))
To use the internet as an example and explain it in internet terminology:
The internet environment and the environment of the individual data elements moving within it (the person, character, product, or music being shared)
Plus
The environment of the data that receives the transmission, wraps it in emotion and reason, and sends it back
The overall flow of data.
This is the foundation of how internet communication works.
Without a deep understanding of this, wouldn’t it be difficult to navigate any platform effectively?
Even if you know which site you’re going to next, or which site you visited before, there’s no “shower effect” on the internet.
All that exists are effects.
Sampling from Fade Out.
Voice Kyoko Koizumi.All truck Haruo Chikada.
Type change Enamel
Internet Media in 2026, Vol. 3
BTS Eats Korean Food, Part 2
BTS Eats Korean Food, Part 2
The Basics of Analyzing Data
I can’t say exactly where, but this is the story of a company—the first in Japan to introduce a POS System Online Network System (lol)—and how they analyzed data, as well as why certain data points were necessary.
Also, if you’re curious, I think you’ll find it easy to understand if you look into it again: what kind of products were those that were discontinued early on but actually became long-selling hits, and what kind of customer base they had.
Translated with DeepL.com (free version)
2026/08/20
BTSは韓国料理を食べる 1 / BTS are eating living Korean food 1 / Internet Media of 2026 Vol.2 / LIFE WORK
[其れよりも ルーフを空けて欲しいのよ
星がこんなに ウソみたいね]
私はBTS（以下バンタン）のDynamiteからのファンです。（Armyさんでは無く、ファンです。また同時にアミ・ペンです。）
偶然見かけたパフォーマンスの光りの強さに非常に驚いて、すぐiTunesで楽曲を幾つか購入しました。
スターやスーパースターに成る人達は特殊な発光をするので、久しぶりに見る光りにとても驚きました。
K-POPもBOAちゃんやKARAは大好きだったのですが、それ以降は特に聴いてなかったので、今や世界ミュージック市場で1ジャンルを確立したK-POPの応援の仕方等何も知りませんでした。
Dynamiteの後、世界中の大期待を背負ってDropされたのがLife Goes Onで、コロナ真っ只中の世界でとても静謐な世界に突然巻き込まれた現在を歌っていました。
其の後、ButterがDropされるのですが、公開までのイベントに次ぐイベントにウィバースは静かな熱気が渦巻いており、私はバンタンのスタイリッシュなButterイメージフォトに大期待をし、固唾を呑んで何か分からない公開を見にログインして何か分からないまま（貴方は交流をして情報を集めたりしないんですか？）、Live配信らしいオフィシャルの映像をクリックしました。
それから１時間後、バターが時折湯気を立てて鉄板に溶けていく音がする中、イラストを見つめ、何の人間の声もサウンドも聴こえないまま、バター・・・で合ってるんだろうか？ という何か分からないイラストを見ながら、今、動いたような・・・？ と思いながら固唾を呑み続け、Armyさん達は何か仰っているのだろうか？ とチラチラコミュニティを見るんですが、誰も何も言っておらず、・・・？ と思って１時間後、バターが溶けてスル〜っと画面の外に消えて行き、私は多分BTSやBIGHITのスタッフさん達と仲良くなれるな、と無表情で立ち上がったのを昨日の事のように憶えています。
ペン ー Kエンターテインメントでファンの総称
アミ ー Armyさんとバンタンだけが呼び合うArmyさんの愛称
[FMのボリューム大きめにしてね] 
色々なK-POP用語は興味があれば検索して頂くととても丁寧にまとめてあります。
私は未だにきちんと記憶していません。すみません。
それでとても驚いたのはバンタンは兎に角インターネットを縦横無尽に理解し尽くしているということ。
そして新しくメディア・プラットフォームが公開されると、すぐにオフィシャルアカウントとメンバー全員分のアカウントを取得するのだ。ということです。
私が今でも大好きなバンタンのインターネットメディア・ステップ・エピソードは、Twitter（現X）を当然いち早くバンタンとメンバーは使い、Jinさんは普段御自身のアカウントをお持ちで、愛しのArmyさん達に素敵な言葉をTweetしてたのですが、ある年のバレンタインデーに突然BIGHIT MUSICのオフィシャルアカウントを勝手にジャックし、名乗りもせず、無駄にバレンタインとは無関係のTweetをしまくり、とうとうArmyさん達にバレてしまい、何も言わずに消えた。
という良く分からないエピソードが好きです。
[貴方は何時もこんな風だわ
自分勝手で強くて少しズルい] 
私がとても良いなと思うのは、バンタンがインターネットメディアをすぐ理解し、すぐ使う、機敏さと判断力の適確さ、応用力の高さです。
これは恐らくバンタンやBig Hit MusicのBrain達が、いま自分の目の前にあるのは一体何かを深く理解しているからです。
その応用力が高ければ高い程、基礎理解力が深く、新しいメディアを手足として使う為に、目の前のメディアのしくみを理解し、データの動きを理解し、このモニターの向こう、オンライン越しに居る人間が一体何を此方に投げ返すのか、自分達は一体何を発信し、何を創り、どのような効果を狙うのか。
そのベクトル、軌道修正の仕方が、完全に頭に入っているため、韓国ではカカオ・トークと呼ばれるカカオは勿論、他のブログタイプのオフィシャルニュースサイトにオフィシャル領域を持ち、ファン・フィクションの動向をチェックし、プロならではのコラボレーション・HIP
HOPアプローチのMVを制作します。
韓国のファンダムは世界や日本のポップアイドルスターのファンダムと比べ、独自な特徴を持っているのをすぐ許可し、時間があれば自分達メンバーの言葉をテキストデータ用に用意し、YouTubeのアカウントをフル回転させ、MVの公開からバンタン専用の番組を週に一回公開し、オフィシャルYouTube内で、Big
Hit
Musicの個室から食事をするライブ配信をしたり、会社にあるメンバー達の音楽制作の個室からライブ配信をしたり、
ご自身達が共同生活をする巨大なマンションの個人の作業室からライブ配信をして、音楽に対する考え、ある時は愛しのArmyさん達に向けて心の内を語り、メンバーの誕生日にはセンイル・ケーキ（誕生日ケーキ）を乱入したメンバーが持ち込み、お誕生日の歌を歌い、ご本人の誕生日のお祈りを嬉しそうに見守り、コンサートツアーに行けば、滞在先のホテルのメニューを頼んでグルメ配信をし（Jinさんは日本の洋食風カレーがあまり好きではありませんでした）、
突然ワインを用意して私の住む街の一流ホテルの一室から、やっと此処に泊まれたと、熱い気持ちをネットワークの向こうのArmyさんと静かに美しく時間を共有していました。
[其れよりも ルーフを空けて欲しいのよ
星が此んなに 嘘みたいね]
当時インターネット上に色々なミュージシャンやアクターのオフィシャルアカウントは在ったのですが、何処もどう使って良いか誰にも分からず、ただ公式ニュースと事務所側が用意した写真が少しあるだけで、更新も月に一回あれば多い方でした。
その頃の世界中の価値観は、インターネットメディアは何時もNOT
Officialであり、日本のインターネット社会では、テレビや雑誌でミュージシャンや俳優がインターネットを見ていると言うのを自ら遠慮していたし、インターネットをやっていると発言したミュージシャンは私が知る範囲では、GLAYのメンバーだけで、彼は自らのスタイルをスプーキーと位置付けた演出として言っているようにも見えていました。
一般人社会でもインターネットをやっていると発言すると、奇異な目で見られていました。
会社ではMicrosoftのOfficeシリーズが勝手に入っていて、イルカがヘルプに答えているのにも関わらずに。
私の住む街では、パソコンが乗っているデスクと、乗っていないデスクがまだ存在しており、何故か知りませんが、一生懸命本を自費で購入して家に帰って猛自習に明け暮れている人々をそうでない人達は一方的に憎んでいました。
フォトショップを持っていると言うと驚きと同時に非常に憎まれ、何か分からない情報通気取りの人は、ねえ今度家のフォトショップ持ってきてここのパソコンに入れさせてよ、と気軽に話しかけ、心の中で非常に眉をしかめながら、「そんな事をするとコチラの手が後ろに回りますよ（てめぇフォトショップ何万すると思ってんだ！）、出来ませんよ。HAHAHAHA」と苦々しい記憶を持たされる事も多かったです。
私が住む国は以前大きな災害に見舞われ、それは首都も含まれていました。
そして止む負えない事とはいえ、その強いショックから、災害が起こる数十年前に、インターネットを世界中の誰も理解出来ていなかった状況の残像が未だ残っているようです。
2026年の私はネットワークのこちらに広がる、昨日は洋食のカレーライスを作った部屋で、何故メイン・メディアの人々はいつ迄経っても、インターネットを理解出来ていないのだろう？ と首を傾げています。
Sampling from Fade Out.
Voice Kyoko Koizumi.All truck Haruo Chikada.
Type change Enamel
"空けて" Quote "開けて" / "嘘" Quote "ウソ"
BTSは韓国料理を食べる 1
2026年のインターネットメディア Vol.2
20260820 07:56 文章を直しました。
・
・
・
[Then, Open sunroof.
So many stars. looks lie.]
I’ve been a fan of BTS (hereinafter referred to as “BANGTANG”) ever since their song “Dynamite.” (I’m not an “Army,” just a fan. I’m also an ARMY and a Pen.)
I was so amazed by the intensity of the lights in a performance I happened to catch that I immediately bought a few of their songs on iTunes.
People who become stars or superstars seem to give off a special kind of glow, so I was really taken aback by that light—it had been a long time since I’d seen anything like it.
I used to love K-pop artists like BOA and KARA, but I hadn’t really listened to it since then, so I didn’t know anything about how to support K-pop, which has now established itself as a genre in the global music market.
Following “Dynamite,” “Life Goes On” was released amid huge global anticipation. It sang about how we’ve suddenly been swept into a very serene world in the midst of the COVID-19 pandemic.
After that, “Butter” was released. In the lead-up to its release, with one event after another, a quiet excitement was swirling among Weverse users. I had high hopes for BANGTANG’s stylish “Butter” concept photos, so I logged in with bated breath to watch the release—not really knowing what to expect (don’t you usually interact with fans to gather information?)—and clicked on what appeared to be an official live stream.
An hour later, amid the sound of “Butter” occasionally steaming as it melted onto a hot plate, I stared at the illustration. With no human voices or sounds to be heard, I looked at this confusing image—is this really “Butter”...?—and kept holding my breath, thinking, “Did that just move...?” I kept glancing at the community, wondering, “Are the ARMYs saying anything?” I kept glancing at the community, but no one was saying anything, so I thought, “...?” An hour later, the butter melted and slid right off the screen, and I remember as if it were yesterday standing up with a blank expression, thinking, “I’ll probably be able to get along well with the BANGTANG and BIGHIT staff.”
Fan — The collective term for fans at K Entertainment
Amy — A nickname for “Army” used exclusively by BANGTANG.
I was so amazed by the intensity of the lights in a performance I happened to catch that I immediately bought a few of their songs on iTunes.
People who become stars or superstars seem to give off a special kind of glow, so I was really taken aback by that light—it had been a long time since I’d seen anything like it.
I used to love K-pop artists like BOA and KARA, but I hadn’t really listened to it since then, so I didn’t know anything about how to support K-pop, which has now established itself as a genre in the global music market.
Following “Dynamite,” “Life Goes On” was released amid huge global anticipation. It sang about how we’ve suddenly been swept into a very serene world in the midst of the COVID-19 pandemic.
After that, “Butter” was released. In the lead-up to its release, with one event after another, a quiet excitement was swirling among Weverse users. I had high hopes for BANGTANG’s stylish “Butter” concept photos, so I logged in with bated breath to watch the release—not really knowing what to expect (don’t you usually interact with fans to gather information?)—and clicked on what appeared to be an official live stream.
An hour later, amid the sound of “Butter” occasionally steaming as it melted onto a hot plate, I stared at the illustration. With no human voices or sounds to be heard, I looked at this confusing image—is this really “Butter”...?—and kept holding my breath, thinking, “Did that just move...?” I kept glancing at the community, wondering, “Are the ARMYs saying anything?” I kept glancing at the community, but no one was saying anything, so I thought, “...?” An hour later, the butter melted and slid right off the screen, and I remember as if it were yesterday standing up with a blank expression, thinking, “I’ll probably be able to get along well with the BANGTANG and BIGHIT staff.”
Fan — The collective term for fans at K Entertainment
Amy — A nickname for “Army” used exclusively by BANGTANG.
[Please turn up the FM volume a bit.]
If you’re interested in various K-pop terms, you can search for them—they’re summarized very thoroughly online.
I still haven’t quite memorized them myself. Sorry about that.
What really surprised me was that BANGTANG, above all else, has a thorough and comprehensive understanding of the internet.
And whenever a new media platform is launched, they immediately set up an official account as well as individual accounts for every member.
One of my all-time favorite BANGTANG internet media moments— episode I still love is this: BTS and the members were, of course, among the first to use Twitter (now X). Jin usually had his own account and would tweet lovely messages to his beloved ARMYs, but one Valentine’s Day, he suddenly took over the official BIGHIT MUSIC account without permission, didn’t identify himself, and posted a bunch of tweets that had absolutely nothing to do with Valentine’s Day. Eventually, the ARMYs caught on, and he disappeared without saying a word.
I still haven’t quite memorized them myself. Sorry about that.
What really surprised me was that BANGTANG, above all else, has a thorough and comprehensive understanding of the internet.
And whenever a new media platform is launched, they immediately set up an official account as well as individual accounts for every member.
One of my all-time favorite BANGTANG internet media moments— episode I still love is this: BTS and the members were, of course, among the first to use Twitter (now X). Jin usually had his own account and would tweet lovely messages to his beloved ARMYs, but one Valentine’s Day, he suddenly took over the official BIGHIT MUSIC account without permission, didn’t identify himself, and posted a bunch of tweets that had absolutely nothing to do with Valentine’s Day. Eventually, the ARMYs caught on, and he disappeared without saying a word.
I really like this rather baffling story.
[You're always like this.
Selfish, strong, and a little sneaky.]
Selfish, strong, and a little sneaky.]
What I really admire is BANGTANG’s agility, sound judgment, and high level of adaptability—their ability to quickly grasp and immediately utilize internet media.
This is likely because the brains behind BANGTANGand Big Hit Music have a deep understanding of exactly what lies before them right now.
The greater their adaptability, the deeper their foundational understanding. To use new media as an extension of themselves, they understand the mechanisms of the media at hand, analyze data trends, and consider what the people on the other side of the screen—beyond the online divide—will respond with, as well as what they themselves should communicate, what they should create, and what effects they aim to achieve.
Because they have a complete grasp of these vectors and how to adjust their course, they maintain an official presence not only on Kakao—known in Korea as KakaoTalk—but also on other blog-style official news sites; they monitor trends in fan fiction; and they produce music videos featuring professional-level collaborations and a hip-hop approach.
This is likely because the brains behind BANGTANGand Big Hit Music have a deep understanding of exactly what lies before them right now.
The greater their adaptability, the deeper their foundational understanding. To use new media as an extension of themselves, they understand the mechanisms of the media at hand, analyze data trends, and consider what the people on the other side of the screen—beyond the online divide—will respond with, as well as what they themselves should communicate, what they should create, and what effects they aim to achieve.
Because they have a complete grasp of these vectors and how to adjust their course, they maintain an official presence not only on Kakao—known in Korea as KakaoTalk—but also on other blog-style official news sites; they monitor trends in fan fiction; and they produce music videos featuring professional-level collaborations and a hip-hop approach.
It’s immediately apparent that the Korean fandom has unique characteristics compared to fandoms of pop idol stars around the world or in Japan. Whenever they have time, they transcribe their members’ words into text, keep their YouTube accounts running at full speed, release a BANGTANG - exclusive show once a week starting from the music video’s release, and host live streams on the official YouTube channel—whether it’s eating meals in a private room at Big Hit Music or broadcasting live from the members’ music production studios at the company.
and even from private studios within the massive apartment complex where they live together. They share their thoughts on music and, at times, open up about their feelings to their beloved ARMY. On members’ birthdays, other members burst in with a “senil” cake (birthday cake), sing “Happy Birthday,” and joyfully watch as the birthday member makes a birthday wish. When they go on concert tours, they order dishes from the hotel menu to host food-themed livestreams (Jin wasn’t particularly fond of Japanese-style Western curry),
or suddenly pulling out a bottle of wine in a room at a top-tier hotel in my city, saying, “I’ve finally been able to stay here,” and quietly and beautifully sharing that heartfelt moment with the Army on the other side of the screen.
and even from private studios within the massive apartment complex where they live together. They share their thoughts on music and, at times, open up about their feelings to their beloved ARMY. On members’ birthdays, other members burst in with a “senil” cake (birthday cake), sing “Happy Birthday,” and joyfully watch as the birthday member makes a birthday wish. When they go on concert tours, they order dishes from the hotel menu to host food-themed livestreams (Jin wasn’t particularly fond of Japanese-style Western curry),
or suddenly pulling out a bottle of wine in a room at a top-tier hotel in my city, saying, “I’ve finally been able to stay here,” and quietly and beautifully sharing that heartfelt moment with the Army on the other side of the screen.
[Then, Open sunroof.
So many stars. looks Falsity.]
Back then, the prevailing view worldwide was that internet media was always “unofficial.” In Japan’s online community, musicians and actors were generally reluctant to admit on TV or in magazines that they used the internet. As far as I know, the only musicians who openly stated they used the internet were the members of GLAY, though it seemed to me they were saying this as part of a performance to position their style as “spooky.”
Even among the general public, if you said you used the internet, people would look at you strangely.
At work, Microsoft Office was pre-installed on our computers—even though the help screen featured a dolphin answering questions.
In the town where I lived, there was still a clear divide between desks with computers and those without. For some reason, people who didn’t have computers harbored a one-sided hatred toward those who spent their own money buying books and went home to study furiously.
If I mentioned that I owned Photoshop, people would be surprised and, at the same time, really resent me. Some self-proclaimed “tech-savvy” types would casually ask, “Hey, next time, bring your Photoshop from home and let me install it on this computer here,” while I’d inwardly frown and think, “If you do that, I’ll have to turn the tables on you (how much do you think Photoshop costs, you jerk?!), so no way. HAHAHAHA”—leaving me with many bitter memories.
The country where I live was once struck by a major disaster, one that even affected the capital.
And while it was unavoidable, it seems that the afterimage of a time—decades before the disaster—when no one in the world understood the internet still lingers due to the intense shock of that event.
In the year 2026, I’m sitting on this side of the network—in the same room where I made Western-style curry rice yesterday—wondering, “Why is it that people in the mainstream media still don’t understand the internet, no matter how much time passes?”
Sampling from Fade Out.
Voice Kyoko Koizumi.All truck Haruo Chikada.
Type change Enamel
BTS are eating living Korean food 1
Internet Media of 2026 Vol.2
20260820 07:56 I revised the text.
Translated with DeepL.com (free version)
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