BTS的發展軌跡引發粉絲們去追尋在他們音樂中更深刻的意義，就如徐太志25年前做到的一樣。
When Seo Taiji & Boys debuted their rap-rock break up song "I Know" on a talent show on one of Korea's major television networks, they received the lowest score of the night for their performance. It was April of 1992, and, until then, due to South Korea's travel ban (which had only just been lifted in 1988) and strict censorship laws, the prevailing styles in Korean pop were trot—a blend of Japanese, Western, and Korean styles sung in the vibrato-heavy Gagok style—and ballads. Seo Taiji's rowdy song, complete with trendy styling and accompanying choreography, didn't exactly sit well with the judges. But the Korean public was ready for change. "I Know" went on to top the charts for 17 weeks and marked the beginning of K-pop as we know it today.
當徐太志的孩子們在韓國主流電視臺網絡的一檔才藝秀節目上，以一首Rap-rock風格的分手情歌「I Konw」出道後，他們表演得到了當晚節目裡最低分，那還是1992年的4月，直到後來，韓國電視臺禁行令（在1988年開始執行的）和嚴格的審查條令。當時在韓國主流流行樂風格是Trot——一種融合了日本，西方和韓國元素有著很重顫音的演唱風格——和Ballad。徐太志以這種喧囂的歌曲，完全潮範兒的造型並伴著編舞，沒有獲得好的風評。但當時的韓國社會已經準備好了改變，「I Know」 曾達到了排行榜連續17周保持一位的成績，標誌著Kpop的新開端。
Though Seo Taiji & Boys soon disbanded in 1996, their career was a game changer. The group not only shook things up with their sound and look, they challenged the status quo in their lyrics as well, shouting the frustrations of young people and pushing the boundaries of pop music in their country. They were met with pushback from the industry and the older generation, often banned from TV broadcasts, and even accused of sneaking satanic messages in their songs to brainwash young people. But the group and their fans pushed right back, eventually changing censorship laws and industry standards.
儘管徐太志的孩子們在1996年就解散了，他們的事業生涯有如遊戲的改變者。不僅通過聲音和造型震懾了業界，他們也很好地通過歌詞改變了現狀，吶喊出了年輕人們的挫折感，也突破了韓國流行音樂的界限。他們曾遇到過來自於產業和老一代們的阻擾，經常被電視臺禁播，還甚至被指控為通過歌詞裡暗藏邪惡的內容給年輕人洗腦。但是組合和粉絲駁回了對此的指控，逐漸的改變了歌詞審查制度和產業的標準。
Seo Taiji went on to an equally successful solo career, while the Boys, Yang Hyunsuk and Lee Juno, both went on to start their own labels. Yang Hyunsuk started what is still one of Korea's major players, YG Entertainment, home to genre-defining groups like 2NE1, Big Bang, and BlackPink. The industry standard of experimenting with sound, dance, and fashion came from Seo Taiji. Even now, we see their influence in groups like NCT 127 and BTS, the latter of which is arguably the biggest name in K-pop today. Recently, BTS's staggering popularity has been linked to the group's socially conscious lyrics. But in this, as in many other respects, they are following in the footsteps of Seo Taiji.
徐太志步入了同樣成功的個人事業，然而其他男孩們，楊賢碩和李Juno，一起創建了自己的廠牌，楊賢碩的事業在現在的韓國娛樂產業裡依舊是業界大大之一。YG娛樂，產出類似2NE1、Bigbang和Blackpink的限定型組合。業界標準來自於徐太志對於歌、舞和時尚多方面的實驗。甚至現在，我們可以在例如NCT127、BTS的組合身上看到他的影響力，後者便是當下具有爭議的」Kpop最響亮的名字」稱號的本尊。最近，BTS的驚人的受歡迎程度已經和他們有著社會意識感的歌詞聯繫到了一起。但在這其中，正如其他人所尊敬的是，他們正在跟隨著前輩徐太志的步伐前進。
BTS recently remade Seo Taiji's 1995 song "Come Back Home," which rails against societal pressures on young people that push them to run away from home. In their remake, BTS speak about the frustrations of today's youth, which aren't so different from those felt over 20 years ago. In their version, J-Hope and Rap Monster especially shine, as the former's dynamic delivery combines with the latter's hard-hitting approach in a way that both borrows from the anger and energy of the original and injects it with some Bangtan style.
BTS最近重新製作了徐太志1995年的歌」Com Back Home「，抱怨了讓年輕人們遠離家庭的社會壓力。通過他們的翻唱，BTS說出了當下年輕人們的挫折感，這和20年前所感受到的差別很大。在他們的版本中，J-hope和RM是很陽光向上的，正如前輩原作有力的表達並融合後輩們的積極方式，借用包含憤怒和原創力，注入防彈們的自己的風格。
The remake is part of Time Traveler, a project to celebrate 25 years since Seo Taiji's debut that will culminate in a concert in Seoul on September 2. Other artists also participated with their own remakes. Urban Zakapa and Younha took the softer "Moai" and "Take Five" and updated them with more polished and cinematic versions, while rappers Loopy and Nafla of MKIT Rain translated the intensity of "Internet War" into their own sinister remake. Yet of the many artists who participated inTime Traveler, BTS was the most successful with its remake, perhaps because the group is the one whose career has most closely followed in Seo Taiji's footsteps. Like Seo Taiji & Boys were in their day, BTS is a hip-hop group known for their choreography, experimenting with different styles, and voicing the pains of the youth in their music. And while "Come Back Home" is an actual cover of Seo Taiji, it's not the only instance of BTS taking a cue from their predecessors.
這次翻唱是專輯Time Traveler的其中一首，這個是將在9月2日點燃徐太志首爾演唱會，紀念他出道25周年的項目。其他藝人也參與其中，Urban Zakapa和Younha帶著更柔情的」Moai」和"Take Five」，將兩首歌更新為更為優美和弘大的版本。然而來自於Hiphop Crew MKIT RAIN的Rappers Nafla和Loopy，將很有力度的"Internet War」 轉化為他們自己更邪惡一些的版本。並非很多藝人都能參與到Time Traveler這張翻唱專輯中，BTS有著最成功的翻唱，也許因為他們的職業生涯是最貼近徐太志步伐的藝人。像徐太志的孩子們一樣，在這個的時代裡，BTS是以Hip-hop風格為編舞而人熟知的組合，實踐著不同曲風，以及音樂裡道出了年輕群體的痛苦。雖然」Come Back Home「的確是翻唱徐太志的歌，但這不止是防彈少年團參考前輩們成功模式的唯一實例。
"Classroom Idea," another of Seo Taiji's songs that remains relevant, criticizes the school system for being so stringent and suffocating and more like a factory than anything. In it, Seo Taiji returns to his metal roots and screams that enough is enough, that he doesn't want to be a part of this. The abrasive style of the song and its criticisms is what led many parents to accuse the group of inserting satanic messages in their music to brainwash their children. Nearly 20 years later, BTS picked up on the same themes in their school trilogy (2 Cool 4 Skool, O!RUL8,2?, Skool Luv Affair). In the trilogy, BTS focuses on the problems high school and college students grapple with, namely the pressure from parents and society to do well in school, get a good job, and make money.
"Classroom Idea （教室理念）,」 另一首徐太志包含相關，批評學校系統變得如此嚴厲和讓人窒息，更像是工廠的作品。至此，徐太志回到了他不想成為的，金屬搖滾根基和極力吶喊「夠了」的曲風。歌曲粗暴的曲風和它的批判主義使得很多家長指責組合將惡劣的內容植入到他們的音樂裡去給孩子們洗腦。近20年後，BTS選擇了同樣的主題在他們學校三部曲（2 Cool 4 Skool, O!RUL8,2?, Skool Luv Affair）中。這三部曲裡，BTS聚焦於高中和大學學生們執著的問題，換句話說是來自於家長和社會的壓力：要求學生們在校好好表現，找個好工作，努力賺錢。
Their debut song "No More Dream" talks about the aspirations of young people being predetermined and all about money and laments that this leaves them with no real dreams of their own. "N.O" later followed with critiques of the rigid school system and its mind-numbing effects, just as Seo Taiji did in "Classroom Idea." But BTS didn't just say enough is enough, they rallied young people right along with them to say no to the narrow path they're expected to walk. (The dystopian classroom music video was a nice touch.)
BTS的出道單曲"No More Dream" 探討的靈感來自年輕人變得拜金，嘆息這讓他們遠離夢想。 "N.O"後來跟隨了批判頑固的學校系統和它令人厭惡的影響。就像徐太志在」教室理念」裡表達的一樣，但BTS沒有喊出「適可而止」這個詞。他們將年輕人的權利和他們拒絕個體發展之途日益狹窄的概念凝聚到一起。（反烏託邦式的教室MV很貼切）
Even before their debut, Jin, Rap Monster, and Suga came together for "Tears of School," a song that, over Kendrick Lamar's "Swimming Pools," describes school as a flawed mini society created by adults, a battleground in which there are no winners. When Suga talks about being taught to step on others to climb to the top, he reiterates a problem that Seo Taiji also witnessed. The connection between the groups is obvious, and it's no surprise that BTS went on to perform "Classroom Idea" at KBS's end of year concert last year.
甚至在他們出道前，Jin，RM和Suga就因"Tears of School,"走到了一起，這首歌，在Kendrick Lamar的「Swimming Pools」的beat上，描述了學校是個被成年人創造出來,有缺陷的微型社會，是個沒有勝者的戰場。當Suga唱著踩著別人一步步攀爬至頂端歌詞時，他重提了徐太志也見證過的問題。兩個組合之間的聯繫顯而易見，這也不奇怪他們在去年KBS年終演唱會上的「教室理念」主題舞臺。
However, socially conscious K-pop didn't skip an entire generation between Seo Taiji and BTS. In fact, it's kind of how idol groups got started. The first K-pop boy groups all debuted with something to say. H.O.T. kicked things off fighting back against bullying in "Warrior's Descendant," from their 1996 debut album We Hate All Kinds of Violence. Then Sechs Kies got riled up over the pressures of school in "Song of School Life" on their 1997 debut. In 1998 Shinhwa asked why society is so greedy in "Resolver," and a year later G.O.D. debuted with "To Mother," about a poor widow looked down upon by society. Fast forward to 2012, and B.A.P calls for revolution in "Warrior" while Exo's "MAMA" bemoans losing ourselves to the digital world. (Do I hear "Internet War"?) At MBC's end of year concert in 2013, BTS performed "Warrior's Descendant" and "Song of School Life," along with their own "No More Dream," a nod to those who set the stage for the socially conscious debut song rite of passage.
然而，Kpop的社會意識沒有跳過徐太志和BTS之間的這一整代人。實際上，它是Kpop組合如何起步的理念。第一代Kpop男團的出道都有的說。H.O.T通過"Warrior's Descendant」這首歌回擊校園欺凌，來自於1996年的出道專輯We Hate All Kinds of Violence。接著水晶男孩在他們1997年 "Song of School Life" 這首反映校園壓力的歌曲席捲出道。98年神話在「Resolver」 中問道為何社會如此貪婪，一年後的G.O.D以」To Mother「出道，主題關於被社會輕視的單身母親。最近追溯到2012，B.A.P 在「Warrior」中呼喚變革，然而EXO的」MAMA」為在數碼世界中迷失自我的人們惋惜。(Do I hear "Internet War」?) 在MBC2013年年中演唱會舞臺上，BTS和"No More Dream「一起，表演了"Warrior's Descendant" 和 "Song of School Life,」 像前文提到這些開創社會意識舞臺概念的前輩予以致敬。
And because there's no social commentary shortage, fans who are more immersed know to seek it out. Earlier this year, BTS released "Spring Day," a song about friendship lost and missed. Fans of the group analyzed everything from the song's lyrics to the music video's imagery and the formations of the performance choreography and some concluded that it was a tribute to the young lives lost in the Sewol ferry tragedy of 2014. Whether it was intended or not, the group's trajectory thus far leads fans to seek deeper meaning in their music, just as Seo Taiji did 25 years ago.
因為這裡不缺乏社會輿論，粉絲們是更沉浸在探尋歌曲的意義。今年早些時候，BTS發行了」Spring Day「，這首講述了對友誼的逝去和思念。組合的粉絲們通過MV的畫面和編舞表演的形式全面地分析了歌詞內容，有些人總結出這是一首緬懷在2014年這場」世越號」悲劇中殞命的年輕人生命。無論它是有意無意，組合目前的路線讓歌迷在他們的音樂中尋找更深層的意義。就像25年前徐太志做到的一樣。
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防彈是帥氣的Artist！！
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