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blackpink-jane · 20 days

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ㅤㅤㅤ°ㅤㅤㅤ ㅤ𖤐 ִֶָ 𝐉𝐀𝐍𝐄 𓂃 profile 🧷

( moodboard cred: @lorlita )

。　　　　✧　everything is figureoutable !　⁺　　。

— BIRTH NAME ੭ go minri

— CHANGED NAME ੭ hwang jane ❪ since. '06 ❫

— CHINESE NAME ੭ zhao shengyue

— JAPANESE NAME ੭ hayashi yukicho

— NICKNAMES ੭ yue ❪ c-friends ❫, chocho ❪ dad, j-friends, jisoo ❫, honey ❪ jennie ❫, honey unnie ❪ rosè, lisa ❫, twinie ❪ chungha ❫

— hangul ੭ 고민리 → 황제인

— hanzi ੭ 趙勝岳

— kanji ੭ 林幸蝶

— NAME MEANINGS ੭ jane, God is gracious _ shengyue, rising moon _ yukicho, snowy morning

— BIRTHDAY ੭ 9th February, 1996

— ZODIAC SIGN ੭ aquarius

— CHINESE ZODIAC SIGN ੭ rat

— HEIGHT ੭ 170 cm ❪ 5'6" ❫

— WEIGHT ੭ 65 kg ❪ 143 lbs ❫

— BLOOD TYPE ੭ O

— GENDER ੭ female ❪ she/her ❫

— SEXUALITY ੭ bisexual

— RELATIONSHIP STATUS ੭ taken ❪ since. 2020 ❫

ㅤㅤㅤ🎀 | 𝐏𝐄𝐑𝐒𝐎𝐍𝐀𝐋𝐈𝐓𝐘 ⊱ 🐈‍⬛

— MBTI ੭ entj / entp

— TRAITS ੭ independent, diplomatic, open-minded, energetic, impatient, ambitious, outgoing, confident, competitive, passionate, creative

— LIKES ੭ hugs, animals, waffles, makeup, dancing, martial arts, yoga, jogging, reading, playing video games, formula one, rugby, cars

— DISLIKES ੭ bananas, bright lights, spring season, insensitive people, snorers, knitting

— HOBBIES ੭ reading, baking, drawing, playing video games, go-karting, pottery, painting, jogging, annoying her twin brother eli, stealing her brothers clothes

ㅤㅤㅤ ❄ | 𝐂𝐀𝐑𝐄𝐄𝐑 ⊱ 🌬

— COMPANY ੭ YG Entertainment ❪ 2012 - present ❫, Valor Entertainment ❪ 2024 ❫

— ACTIVE SINCE ੭ 2015

— TRAINEE PERIOD ੭ 2012 ‐ 2016 ❪ 3 yrs & 4 mths ❫

— GROUP ੭ BLACKPINK ❪ 블랙핑크 ❫

— DEBUT ੭ 2016

— STAGE NAME ੭ JANE ❪ 제인 ❫

— REPRESENTATIVE EMOJI ੭ 🦁

— INSTAGRAM ੭ diaryofjane ❪ personal ❫ ; valorent.official ❪ business ❫

— TWITTER ੭ diaryofjane ❪ personal ❫ ; valorent.official ❪ business ❫

— TIKTOK ੭ diaryofjane ❪ personal ❫ ; valorent.official ❪ business ❫

— YOUTUBE ੭ Valor Entertainment

— WEVERSE ੭ diaryofjane_

— SOLO DEBUT ੭ 2021

— ACTING DEBUT ੭ 2015

— APPEARANCES ੭ high society (jang yoonha, 2015), fight for my way (choi aera, 2017), what's wrong with secretary kim ? (kim miso, 2018), my name (yoon jiwoo, 2021), the kings affection (crown prince lee hwi, 2021), shang-chi and the legend of the 10 rings (xu xialing, 2021), the 355 (lin misheng, 2022), sweet home (lee eunyu, 2020-2023), a good day to be a dog (han haena, 2023), upgraded (ana, 2024)

— CHOREOGRAPHED FOR ੭ blackpink, treasure, taeyang, enhypen, aespa, le sserafim, boynextdoor, txt, ive, monsta x, joohoney, taylor swift, stray kids, seventeen

— PRODUCED FOR ੭ blackpink, txt, treasure, nct, aespa, selena gomez, niall horan, superm, ive, one direction, jeon somi, itzy, le sserafim

ㅤㅤㅤ 🌺 | 𝐅𝐀𝐌𝐈𝐋𝐘 ⊱ 🍃

— MOTHER (adoptive) :

੭ Birth Name ; hwang luhua ❪ 황루화 ❫

੭ Chinese Name ; zhao luhua ❪ 趙露華 ❫

੭ Japanese Name ; hayashi natsumi ❪ 林なつみ ❫

੭ Birthday ; 28th June, 1974

੭ Occupation ; café owner

੭ Residence ; london, england

੭ Relationship Status ; married ❪ since. 1994 ❫

੭ Children ; 3

— FATHER (adoptive) :

੭ Birth Name ; hwang wijeong ❪ 황위정 ❫

੭ English Name ; kenny hwang

੭ Birthday ; 17th September, 1974

੭ Occupation ; head engineer for McLaren F1 Team

੭ Residence ; london, england

੭ Relationship Status ; married ❪ since. 1994 ❫

੭ Children ; 3

— BROTHER (adoptive) :

੭ Birth Name ; hwang jin ❪ 황진 ❫

੭ Chinese Name ; zhao mingtao ❪ 趙明濤 ❫

੭ Japanese Name ; hayashi kurotori ❪ 林黒鳥 ❫

੭ Birthday ; 9th February, 1996

੭ Occupation ; idol

੭ Residence ; seoul, south korea

੭ Relationship Status ; unknown

੭ Children ; 1

— BROTHER (adoptive) :

੭ Birth Name ; hwang junho ❪ 황준호 ❫

੭ Chinese Name ; zhao haoyu ❪ 趙浩宇 ❫

੭ Japanese Name ; hayashi isagi ❪ 林いさぎ ❫

੭ Birthday ; 9th February, 1996

੭ Occupation ; idol

੭ Residence ; seoul, south korea

੭ Relationship Status ; taken ❪ since. 2023 ❫

੭ Children ; 0

— NEICE :

੭ Birth Name ; hwang cheonsa ❪ 황천사 ❫

੭ English Name ; angel hwang

੭ Chinese Name ; zhao shuijing ❪ 趙水晶 ❫

੭ Japanese Name ; hayashi hanami ❪ 林花見 ❫

੭ Birthday ; 10th October, 2021

੭ Occupation ; school ❪ private ❫

੭ Residence ; seoul, south korea

ㅤㅤㅤ🥀 | 𝐅𝐔𝐍 𝐅𝐀𝐂𝐓𝐒 ⊱ 💋

𝐢. she is the tallest member of blackpink.

𝐢𝐢. jane refers to herself as a triplet, as both her adoptive brothers share the same birthday as her, and so they were raised as being referred to as triplets ! ( junho and jin are fraternal twins).

𝐢𝐢𝐢. she is the most extroverted in the group, and often finds great joy in embarrassing her fellow members in the public eye.

𝐢𝐯. miss girl is severely allergic to tomatoes – and she genuinely despises them, names them her greatest (and only) weakness in this world.

𝐯. jane has 2 cats named mochi and rari; she really wants her third pet to be a dog, and she plans to get one soon.

𝐯𝐢. a coffee enthusiast and cocktail connoisseur – like, she's actually quite skilled in mixology.

𝐯𝐢𝐢. she absolutely adores musicals, and cannot sit through a movie that is more than 2 hours long, her short attention span just does not allow it.

𝐯𝐢𝐢𝐢. within formula one the teams he's always supported since falling in love with the sport at 10, is mclaren – and in terms of her favourite rugby team, it's the all blacks, new zealand's national rugby team.

𝐢𝐱. jane is legally blind and cannot see a single recognizable object without her glasses or contacts – my girl lives in a world of shapes.

𝐱. her biggest scandal in her career was being in a rumored fist-fight with seventeen's the8.

#blackpink 5th member #blackpink in your area #blackpink is the revolution #blackpink lisa #blackpink jisoo #blackpink jennie #blackpink #blackpink rose #imnameimswrld #blackpink-jane

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seasquared · 2 years

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How to Go, Unlimited: Life (?) After "Limitless (Rough Ver.)"

When I first started writing this post in 2018, it began with "it's been over a year since SM dropped the MVs for 'Limitless,' and for a while, it looked like NCT would never go back to the 'Limitless (Rough Ver.)' style." But now it is 2022. While that sentence is still technically accurate (four years is more than a year), the visual style for NCT has since solidified, if not calcified. In 2018 we might still have wondered if "Cherry Bomb" was an oddity or a thesis statement. In 2022 we can recognize that "Cherry Bomb" was the test case for what would become the recognizable NCT look and sound: the musical equivalent of having Four Loko injected straight into your brain and then being set loose in the Museum of Ice Cream.

Now with the benefit of four years of hindsight, I can say quite definitively, NCT has never and will never back to the "Limitless (Rough Ver.)" style.

There is only one exception to that statement, and that was when SM dropped NCT Dream's "Go."

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"Go" was released in close tandem with NCT U's "Baby Don't Stop" and "Boss," so I hope you'll forgive the brief diversion into its sibling MVs. "Baby Don't Stop" as a song was and remains legendary, a strange combination of Ten's floating high notes, Taeyong's self-assured nasal rapping, and urgent breathy whispering that climaxes in a stretch of harmonization so effortless it feels adlibbed. I would even argue that it is a clear highlight of NCT's overall discography. The music video, on the other hand, is unremarkable, save for Ten and Taeyong's asymmetrical symmetry as they and they alone mug for the camera. Taeyong takes up so much space, all angles with an exaggerated throwing of his shoulders that's emphasized by his outlandishly teased hair and enormous half-tucked white shirt, that you almost miss Ten, sleek and smooth in darker colors and a slicked down hairstyle. Ten dances like he's not even thinking about it, like this is his natural state, as if this is how he drifts through life, flowing from flourish to flourish, his face set in a neutral but sultry remove. Taeyong, on the other hand, moves so abruptly that you feel like he was interpolated from a lower framerate, stop motion with no in-between frames at all, and his face is a dizzying moodboard of open-mouthed expressions: ecstasy, arrogance, seduction, animalistic exertion.

The great visual trick of "Baby Don't Stop" is that the longer you watch it, the stranger their bodies become. Taeyong's whole demeanor is Joker-esque, literally unhinged, as if he were a ball-jointed doll, and by the end his arms seem to stretch to such unnatural lengths that you become worried he will accidentally strike Ten in the face while flailing. (He never does, of course.) In rewatching, you begin to marvel at how Ten seems to set the tempo, unleash and rein Taeyong in at turns. The MV starts with Ten dancing almost absent-mindedly by himself before spinning towards Taeyong, who then jerks awake like a wind-up toy and begins to parallel, though not quite copy, Ten's movements. This continues throughout the video: Ten swings his leg off a chair and Taeyong follows, Taeyong dances for the camera while Ten with his back to the camera snaps his fingers over both their heads, Taeyong saunters and stalks his way down a ramp⁠—following Ten, whose nearly imperceptible figure is waiting just offscreen for him to catch up. When Ten reappears, he taps Taeyong in the back, causing him to slump over like a marionette with his strings cut, before Ten puts his hand back on Taeyong's shoulder, causing him to snap back up. What a well-worn, and delicious, dynamic: a magician and his dangerous familiar, a man and his beloved rabid dog, a two-man performance that is a duet, duel, and binding ritual all at the same time. (Can you tell I love this song and have watched this MV many times by now? This is the kind of characterization through dance and interaction that you don't have time for when you need to fit 2945893 members into the same neon-streaked VR cage for the typical NCT headliner MV.)

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"Boss" is even more visually unremarkable. It's half a fashion ad and another half a fashion shoot. There's no storytelling to speak of, only what seems like a never ending parade of wardrobe changes in muted palettes of earthy browns, deep blues, and bright oranges might as well be ripped from 2018 Stylenanda. Every setting feels clinically empty, an auditorium immaculately cleaned to function as a dance stage. At times this MV feels less like an official music video and more like a very high budget dance cover. There's not even the pretense that these are lived-in environments the boys inhabit (e.g. "We Go Up" or "Regular") or fictional worlds wholly created for them ("Favorite (Vampire)" or "Simon Says"); rather, you can almost see the sign outside each of these locations telling you it's closed for filming or hear the cavernous echoes of cement floors and marble ceilings waiting to be cleaned and put back in order to function as city halls and libraries.

The thing to take away from "Boss" is one word: "pose." There are plenty of "addressing the camera" shots in "Boss," but no longer are they the uninvited, intruding shots of "Limitless." NCT U is inviting you to gaze upon them. You are the camera, literally, like in an early shot where multiple shots of Jaehyun in a camera roll turns into a flip-book style montage that gives the impression of him leaning forward and staring straight at you. I don't think it's a coincidence this MV looks like a fashion shoot. The point is that the boys are Instagram worthy at every turn. No gaze or pose is wasted. You can always tell who is doing the looking and what is being looked at and what you, the ultimate observer, is supposed to take away from a scene. A shot of all of NCT U staring at the camera turns out to be Lucas looking up Mark, who in turn is staring down Taeyong across a boardroom table before they leap at each other like wolves. Maybe more than "Limitless (Performance Ver.)" or the Japanese MV, this is the true "finished" version of "Limitless (Rough Ver.)" a year later. All the rough edges have been polished off, and we are left with nothing but the shiny, flat veneer of performance.

Which brings us to NCT Dream's "Go."

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No devotee of "Limitless (Rough Ver.)" (of which, perhaps, I am a church of one) could miss how closely "Go" functions as a tribute. The first group shot of Dream you see in "Go" also features them dancing in front of a PVC strip door, after all, possibly even in the same building. "Go" pointedly deviates from the sterile fashion shoot aesthetics of "Boss" and borrows instead some of the same techniques of "Limitless (Rough Ver.)": picture-in-picture, complicated and rhythmic hand and arm movements, night-vision filters, candid "low quality" shots of the boys that feature them suddenly glancing directly at the camera as if noticing it for the first time. Early in the video for "Go," Jeno and Haechan stare each other down, before Haechan throws a small kiss and Jeno laughingly backs off, almost a direct parallel to a shot early in "Limitless" where Haechan, on the same side of the screen even, shows a magic trick to Yuta. My favorite shot is one where the camera, nominally focused on Jisung playfully tonguing a lollipop, also catches Chenle lurking behind him, looking down at something. Before your brain fully processes the image, Chenle looks like an ominous ghost mistakenly caught in a cursed photo, not unlike the many cursed images of "Limitless."

But "Go" is more than just a retread of "Limitless" with younger members and a different director. In the post-"Inside" world, we can recognize how "Go" is a reflection of where we are now with self-expression and performance in a world saturated with social media. Where the intrusion of the camera in "Limitless (Rough Ver.)" felt unnerving, a series of shots where you are the voyeur filming NCT 127 without their consent, "Go" is another beast entirely, a younger Gen Z "Limitless" that lives in front of the camera, whose personality is crafted around being perceived.

In "Limitless," the footage is nominally filmed by a handheld camcorder, which you sometimes see in the members' hands. Everyone is awkward when the camera lands on them. If they perform, it is in an outrageous way, as if to draw attention to the farce: Doyoung and Johnny practicing a dance move before stopping, Johnny violently spitting out a willow leaf that he's eaten off a branch, or Taeyong zombie-like as he stands with one arm still stuck in a sweater. The only scenes in which they seem natural are those where they seem to forget its presence. The 4:3 ratio shots are often over or under exposed, badly balanced, zoomed in too far or not close enough. Even the wide ratio high quality shots, which should be "normal," have moments of amateurishness that draw attention to its own existence as a piece of film, like a shaky camera shot of a stop sign or a dance sequence at 1:20 where, for no reason at all, the shot is framed so that everyone's heads are cut off.

"Go" on the other hand, feels like a series of well-produced TikToks. Some of the shots are filmed as if from the vantage point of a phone propped up on the ground against a water bottle, like these are just some guys about to break into the latest TikTok dance. When NCT Dream sees the camera, they don't stop performing like NCT 127 does. Instead, Dream gives us a sensual knowing look and, in some cases, they perform even harder. Consider that amazing moment in "Limitless" where Jaehyun starts to lipsync but then loses interest before he finishes his line, instead sullenly chewing his gum, and contrast it with "Go," when the boys notice the camera during Jaemin and Jeno's rap verse. In the next shot, the camera has zoomed in to find Mark and Jeno hanging out of the window. Mark is smiling, pointing at us with a light-up ring (an echo of him pointing the flashlight at the camera in "Limitless"), while Jeno lipsyncs his lines with such swagger that it seems to draw the camera in even more, filling the frame with his face. Even in the "casual" shots, the lighting is well-adjusted, the contrast carefully controlled, and the camera positioned to make sure you can see faces and gestures. None of the blown-out lighting of "Limitless," the childish zoom into a stray cat that you never see again, a split-second establishing shot of pizza boxes and playing cards that only confuses the viewers more.

"Limitless" is the VHS tape, the home video, the black and white Xeroexed zine folded and stapled and distributed by hand. "Go" is the Hype House collab, the Twitch livestream, the YouTube short travelogue. Everything is updated, intentional, filmed with you in mind. Where Johnny and Winwin play videogames on a console in "Limitless," both of them staring unblinkingly at the camera while not seeing it or you at all, Jeno plays "Rider" on his iphone in "Go," and the MV even shows you his screen, bringing you in. You are in on the joke, even if you're not quite part of the group. "Limitless (Rough Ver.)" felt like a very long inside joke, which probably explains why the "Rough Ver." has, as of this post, only 8.6M views and the "Performance Ver." has 54M despite "Rough Ver." being the superior MV. In "Go," Dream knows what and who they are filming for. They are filming for an audience, and the audience is us.

When I watch "Limitless (Rough Ver.)" now, I see it as a funeral for a time before 2022, before 2018 even, a time when interiority was still possible, when we did not constantly feel the need to perform in front of strangers, our friends, even ourselves. It's more relevant than ever, but as an impotent cry against what everything⁠—not just kpop⁠—has become. That kind of weird⁠—quiet, impenetrable, unwilling to explain itself or resolve into an easy bite⁠—is no longer fashionable. Now "weird" in kpop is bombastic noise, banging pots and pans, a glossy magazine that explodes into ever expanding inserts and samples and 2000s references and aesthetics. Dream claims in "Go" to be "free from the box" and "our real selves," but watching it back to back with "Limitless," you can't help but wonder, are they? Wasn't "Limitless," which itself means to be free, where the members filmed only for themselves and thus were the most free? Maybe it's fitting that everything else in the "Limitless" cinematic universe became bloodless sequel. Nothing ever duplicated "Limitless (Rough Ver.)" ever again, and even SM said goodbye to it in the cruelest, most accurate way possible: by having younger NCT members show us what "Limitless" would look like in the future.

And maybe that's what makes the opening of "Go"⁠—Mark staring straight into the camera as he intones, "Hey, change your ways"⁠—feel so ominous. The old ways are over, and he knows it. I've tried very hard to not let the lyrics of any of the songs intrude on this mostly visual analysis, but it's hard not to see "Go" as an anthem to zoomer doomerism, a cry for the kids of today to rise up and create their own world, and an accusation for those who came before for leaving them in this mess. "Why are you in despair?" Haechan sings at one point. "isn't this the future you ruined yourself?"

Perhaps now is the moment to mention "Touch," the NCT 127 MV that came after "Limitless" and the unspoken fourth in this era of NCT. "Touch" is a nostalgia bomb, a Gap-commercial made of cotton candy, a gijinka of a paint sample strip if it also happened to be a kpop MV. (It was made by the same director of "Baby Don't Cry" and "Boss," who really should consider directing lookbook videos and clothing commercials if they don't already.) It is offensive in its inoffensiveness, a throwback to "Into the New World" with all the boys eventually in jeans and some variation of a white shirt. But I have come to put "Touch" in the legacy of "Limitless," not to demean it. At 1:21, something weird happens. Taeil takes out a phone and activates the camera, mostly like to take a mirror selfie. Suddenly, by 1:29, the rest of NCT 127 has taken out their own iPhones, and begun recording Johnny and Taeil singing together, from many angles.

When I said in 2017 that "NCT 127 is a product that we consume," "Touch" is what I meant. After you are aware that every gesture, every expression, and every moment of "Touch" was filmed in front of many cameras, it sours, though does not destroy, the wide-mouthed and bright smiles of the rest of "Touch." And this is what NCT Dream, the younger brothers, saw when they looked at the legacy of "Limitless (Rough Ver.)." They saw us⁠—the camera, the audience, the performance. NCT 127 pointed the camera at themselves, which started an ever-cascading series of self-perception and self-documentation that NCT Dream had to finish. We thought it was fun and games, until everything became that one kind of fun and that one kind of unwinnable game. We became nostalgic for the past, and then turned nostalgia into an aesthetic, and then drained that aesthetic of any kind of real feeling, so that it was no longer possible to feel nostalgia without feeling like you are performing nostalgia. (After all, for all my rhapsodizing on "Limitless (Rough Ver.)", it's a music video created for of the largest entertainment conglomerates in the world, meant to sell CDs and merchandise and an ephemeral idea of a musical group whose members fall in and out of various lineups in increasingly abstruse ways.) We looked so hard at ourselves that we became the only thing we could see. We became trapped inside ourselves.

And then, when we realized there was no way out, we screamed, like a plea and a command both: Go, go go.

#nct #music #cinema #back on my limitless (rough ver) bullshit #can't wait to see what i write in 2027 on this

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