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The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 5/? (Rewrite)

I am quite surprised by the limited information available regarding this male group, which is known by two different names. I will endeavour to clarify the situation; the group in question is referred to as either 'Arirang Boys' (아리랑보이즈는) or 'Joseon Music Troupe' (조선악극단). It remains unclear why they operated under these two names. This situation is reminiscent of the male groups 'Yeonhee Professional Quartet' (연희전문사중창단) and 'Youth Member' (청년회원), where the former has significantly more information available compared to the later.

Before Liberation – 1940s

Prior to delving deeper, I would like to clarify my approach to discussing this male group, which predates the liberation era and thus had limited information available, similar to my previous post regarding the first two male groups (Part 2). I will first outline the group and its members, followed by the company they were associated with. Additionally, I will mention the 'Jeogori Sisters,' who were part of the same company as the 'Arirang Boys,' noting that one member from each group is a married couple. However, I will refrain from providing extensive details about the 'Jeogori Sisters' as they will be addressed in a future post within The History of Korean Girl Groups.

The Arirang Boys (아리랑보이즈는), a four-member project group, emerged around 1940 and frequently performed alongside the Jeogori Sisters, a female ensemble featuring Lee Nan-young (이난영), Jang Se-jeong (장세정), Kim Neung-ja (김능자), Lee Jun-hee (이준희), and Seo Bong-hee (서봉희). The group comprised Kim Hae-song (김해송), a singer and composer married to Lee Nan-young, composer Park Si-chun (박시춘), comedian Lee Bok-bon (이복본) known for his jazz performances, and composer-arranger Song Hee-sun (송희선). Additionally, Hyun Kyung-seop (현경섭), a trumpet player for an orchestra record company, occasionally filled in for other members.

In no particular order, members of Arirang Boys: Kim Hae-song (김해송), Park Si-chun (박시춘), Lee Bok-bon (이복본), Song Hee-sun (송희선) and Hyun Kyung-seop (현경섭) who occasionally filled in for other members.

Despite not releasing any albums, they achieved popularity through their use of instruments like the guitar and violin, enhancing their stage performances. According to singer Kim Jeong-gu's (김정구) testimony prior to his death, the Arirang Boys were particularly cherished for their comedic interludes during shows.

The Arirang Boys Members:

I will briefly talk about the ‘Arirang Boys’ members here but will go into detail about them separately in future posts.

Kim Hae-song (김해송)

A few other photos of him here.

Kim Hae-song, whose real name was Kim Song-gyu (金松奎) and Japanese name Kyouya Kobayashi (金山松夫), was born in December 1911 in Gaecheon, Pyeongannam-do, during the Japanese colonial era, and he passed away around 1950 at approximately 39 or 40 years of age. It is believed that he remained in Seoul throughout the Korean War and died while being abducted to North Korea.

A multifaceted artist, he was a composer, singer, lyricist, guitarist, and musical director, active from 1935 to 1950. He graduated from Pyongyang Gwangseong High School in 1933, and although there are unverified claims of his attendance at Sungsil College and Jochi University in Japan, these remain unconfirmed. In 1935, he signed with Okeh Records, marking the beginning of his career as a singer and composer.

Lee Bok-bon (이복본)

Lee Bok-bon (李福本), born in Seoul in 1911 and died around 1950?, he was a singer from Joseon and South Korea . He first appeared on the stage of Joseon Theater Company in 1933 and appeared in director Ahn Jong-hwa's (안종화) film 'Crossroads of Youth' (청춘의 십자로) in 1934. He is also called "Korea's first jazz singer" as a member of the Seoul theater company 'Mooran Rouge'. However, during the Korean War, he was kidnapped by the North Korean People's Army during the Battle of Seoul and disappeared thereafter, and is presumed to have died.

Park Si-chun (박시춘)

A few other photos him and information but nothing new here.

Park Si-chun, real name Park Soon-dong (박순동; 朴順東) was born on October 28, 1913, in Miryang, South Korea, was a versatile artist who passed away on June 30, 1996, at 82. His talents included music composition, guitar, and proficiency in instruments like the trumpet, violin, and saxophone. He also worked in the film industry as an actor, director, producer, and music director.

One of his notable works is the pro-Japanese song "Blood Letter Support," which expresses a desire to serve as a volunteer soldier during the Pacific War. The lyrics, by Jo Myeong-am, reflect strong pro-Japanese sentiments. In 2008, he was recognized as a pro-Japanese figure by the Institute for Research in Collaborationist Activities, and a festival honouring him sparked controversy. He was also listed among 705 pro-Japanese anti-nationalists by the Truth and Reconciliation Commission in 2009.

Song Hee-sun (송희선)

I’m not shore which person in the photo shown above is Song Hee-Sun, but I hope this information that I found on him even though it a lot, is the wright Song Hee-sun.

The birth and death dates of Song Hee-sun remain unknown. He began his music education at Sungsil High School in Pyongyang and later ventured into the Japanese light music scene, establishing himself as a saxophonist and subsequently performing with OK Grand Shodan.

His notable contributions include musical dramas like "Dongyang no Rose" (동양의 장미) and "Golden Come Out Ttuktak," (금 나와라 뚝딱) as well as the song "The Young Days of the Sea" (바다의 젊은 날). Additionally, the arrangements he created for Lee Hwa-ja (이화자) during the Japanese colonial era are featured on the Oke album.

Hyun Kyung-seop (현경섭)

I’m not shore which person in the photo shown above is Hyun Kyung-seop, he might not be in the photo because he was occasionally filled in for other members at the time.While I was looking into Hun Kyung-seop I found this blog about him, that the National Museum of Korean History published a collection of Hyun Kyun-seop.As there is little information that I could find I’m going to add all the information here, but i will post him and other members' information separately in the future.

The National Museum of Korean History has published a collection featuring 267 artifacts related to Hyun Kyung-seop, a prominent trumpet player associated with Oke Records during the Japanese colonial era. This collection encompasses photographs of Hyun Kyung-seop and his personal diaries, providing insight into his life during this tumultuous period. Despite his significant contributions to music, particularly as a key member of the Joseon Music Troupe, Hyun Kyung-seop remains largely unremembered by contemporary audiences.

Beginning his career at the age of 22 in 1935, Hyun Kyung-seop gained recognition for his performances in Japan and China, with media outlets even comparing him to the legendary Louis Armstrong. His versatility extended beyond trumpet playing to include arranging, acting, dancing, and singing. However, his life took a tragic turn during the Korean War when he was abducted by North Korean soldiers in Seoul, leading to a prolonged absence that left his family in distress. Despite efforts by his son, Hyun-won, to locate him, including a DNA test through the Red Cross, the family faced numerous hardships due to the stigma associated with his disappearance, which severely restricted their opportunities and freedoms.

Hyun Kyun-seop playing the trumpet in the middle.

This compilation encompasses original images from each day of Hyun Kyung-seop’s diary, a variety of identification documents, photographs of his music colleagues, and all phonograph records he possessed, which have been digitally restored and compiled onto a DVD.

However, these DVDs are currently unavailable for access to my knowledge.

The once-obscure trumpet player Hyun Kyung-seop, who nearly faded from historical memory following his performance at the Seoul Geukdo Theatre in June 1950, has been immortalized through a collection published by the National Museum of Korean History. Transitioning from anonymity to becoming a symbol of the Japanese colonial era and the post-liberation music scene, this collection, made possible by the contributions of his family and the museum's restoration efforts, serves as a crucial resource for understanding the evolution of popular music in Korea.

Okeh Records (오케레코드):

Oke and Okeh Records are the same company. The photos shown below are people that worked for or with Okeh Records, and were attached with the information that I found of the company.

Founded in the early 1930s, Okeh Records highlighted diverse talents from Korea and Japan. Despite facing censorship and limitations, the label effectively developed around six notable groups, producing music films and establishing the Orchestration Team, Orchestra Music 'n Dance Research Institute, while managing Okestudio and theatres both domestically and internationally. The label also toured extensively across Korea, Japan, and Northern Asia, and created military songs. Although Okeh ceased its activities due to the Pacific War, its substantial yet often overlooked influence laid an essential groundwork for future artists following liberation.

Oke Records, a South Korean record label, was operational both prior to and following the country's liberation. The name "Okeh" derives from the Japanese pronunciation of the English term "Okay," and it is represented in the alphabet as 'Okeh.'

Founded in 1932, the exact date and conditions of its inception are not well-documented; however, the celebration of the '15th Anniversary of the Joseon Musical Troupe' (조선악극단) in April 1947 implies that the organization may have been established around April 1932.

Okeh Records was the latest addition to the five major record companies active during the Japanese colonial period, which included Columbia Records, Victor Records, Polydol Records, and Taepyeong Records, all of which ceased operations by 1943, coinciding with the end of the Pacific War. Despite being the last to enter the market, Okeh Records achieved notable success, becoming the second-largest producer of records and playing a crucial role in promoting many of the era's most prominent artists and songs.

Initially, the company was known as the Japanese Okeh Gramophone Company Gyeongseong Temporary Sales Office, later rebranded as the Gyeongseong Branch. The management was overseen by a Korean named Lee Cheol, although information regarding the company's financial structure is scarce. It is clear that Okeh Records depended on Japan's Teichiku Records for its recording and pressing operations, indicating a significant initial partnership with Teichiku. A theory suggests that Lee Cheol's wife, Hyeon Song-ja, had a school friend whose father was an executive at Teichiku Records, which may have aided in the branch's establishment; however, this connection remains unverified.

Okeh Records launched its first album in February 1933 and maintained an active production schedule for approximately 11 years, concluding around late 1943 or early 1944. It ranked second in the volume of new album releases, following Columbia Records, and played a pivotal role in the popular music industry, significantly outpacing its rivals. Initially, the company operated from the Japanese Deichiku Records studio until early 1936, after which it established its own recording facilities in Gyeongseong (Seoul) by late 1936, marking the beginning of its Gyeongseong recording era.

From its inception, Okeh Records prioritized stage performances and album production, featuring one of the finest bands of the time. The company distinguished itself by ensuring that all arrangements and accompaniments for popular music were performed by Korean musicians as Gyeongseong recording evolved. In 1937, Teichiku Records appointed Imura Ryozui as branch manager, taking over the operational rights from Lee Cheol, which led to the rebranding of the company as Teichiku Records Gyeongseong Branch.

Following a fire in January 1941, plans for a new office building were set in motion, resulting in a facility with studios completed by mid-May. Although the precise date of Okeh Records' final album release remains uncertain, it is believed that production continued until late 1943, with operations effectively ceasing in 1944 after the withdrawal of Japanese capital post-liberation. The reestablishment of Okeh Records in August 1948, highlighted by albums such as “Cry Silver Bell,” signified a new entity while honouring the legacy of the original Okeh Records.

Okegrand Show (오케그랜드쇼)

Since its inaugural album release in 1933, Okeh Records had prioritized stage performances, featuring a performance group known as the "Okeh Ensemble," (오케 앙상블) which consisted of artists exclusive to the label and toured extensively across the country, Japan, and Manchuria during recording intervals.

The transition of Okeh Ensemble into the Okeh Grand Show occurred when the operational rights of Okeh Records were transferred from Lee Cheol to Imura Ryozui, who had been sent from Japan's Teichiku Records post-1937.

Group of women that worked in Okeh Records. Not shore when this photo was taken probably around 1940s, and the name of the women are in the photo.

Following this shift, Lee Cheol, facing limitations on his decision-making in the recording industry, founded the Joseon Entertainment Company (initially named Joseon Recording Company) in January 1938, thereby venturing into a new domain of stage performances.

This evolution led to the reformation of the traditional orchestra into the Orchestra Grand Show, which emerged as the premier performing group in Joseon, eventually evolving into the ‘Joseon Musical Troupe’ (조선악극단) after its inaugural tour of Japan in 1939.

Orchestration Team (오케싱잉팀)

As the Joseon Akgeukdan expanded and managing multiple schedules became increasingly challenging, a sister group was established to split the performances into two factions, concentrating on popular music. This led to the formation of the Okesinging Team.

Both Photos - Not shore the name of the two ladies but both worked with Okeh Records. Note shore when both of these photo’s was taken, probably around 1940s.

The Okesinging (오케싱잉) Team, or Okegayodan (오케가요단), made its debut in June 1940, showcasing prominent artists from Okerecord, such as Lee Nan-young, Nam In-su, and Lee Hwa-ja. Despite its formal designation as a distinct entity, the Okesinging Team frequently performed alongside the Joseon Akgeukdan during events. Active until 1941, the Okesinging Team focused on musical performances before entering a brief hiatus. In 1943, it rebranded as the Shinseng Theatre Group (신생극단), broadening its repertoire beyond music and re-emerging on stage.

Orchestra Music and Dance Research Institute (오케음악무용연구소)

Akgeuk and Akgeukdan are the ‘Joseon Musical Troup’, I’m not shore why they are written as Akgeuk or Akgeukdan.

The Okeh Music and Dance Research Institute, founded by Lee Cheol (이철), who also established the Joseon Entertainment Company and led the ‘Joseon Musical Troupe’ (조선악극단), aimed to continuously identify and cultivate talent in popular arts, marking it as the first specialized educational institution for this field in history. Established in September 1940, the institute was directed by Lee Cheol, supported by a faculty of 13 professors from diverse disciplines who provided rigorous education to carefully selected students. Notable faculty members included Kim Hyeong-rae (김형래) in music, along with Kim Min-ja (김민자), Jo Yeong-suk (조영숙), and Lee Jun-hee (이준희) in dance.

This photo was taken in 1943 after the ‘Joseon Musical Troupe’ (조선악극단), the greatest entertainment group of its time, finished a performance in Tokyo to comfort Prince Yeong Chin. It was obtained and made public by Lee Jun-hee (이준희), a visiting professor at Sungkonghoe University (성공회대학교; 聖公會大學校). English – (1) Prince Yeong Chin (Lee Eun) (2) Princess Yi/ Lee Bang-ja (3) Kim Jeong-gu (4) Jang Se-jeong (5) Lee Nan-yeong (6) Lee Cheol, head of the Joseon Musical Troupe (7) Kim Hae-song (8) Lee Bok-bon (9) Lee Jong-cheol. Korean – (1) 영친왕(이은) (2) 이방자 (3) 김정구 (4) 장세정 (5) 이난영 (6) 이철 조선악극단장 (7) 김해송 (8) 이복본 (9) 이종철.

In February 1941, the inaugural performance of the first class of cadets, who had trained for approximately six months, took place, with Kim Baek-hee (김백희; 金白姬) emerging as the most distinguished among them; she later became a leading figure in musical theatre following Korea's liberation. By April 1941, an advertisement was released to recruit the second class, establishing an annual selection process for new cadets. These trainees underwent three years of instruction, during which they were not initially compensated but were exempt from tuition and provided with fashionable uniforms. After acquiring sufficient training and skill, they performed as backup dancers or in the chorus for the Joseon Music Troupe, with the most talented individuals given the chance to perform solo by their third year. Those who remained until their third year could earn a significant salary.

Baek Seol-hee (백설희; 白雪姬), who later thrived in musical and popular song genres post-liberation, was part of the third class selected in 1942 and made her solo debut just before graduating in 1944. Alongside Kim Baek-hee and Baek Seol-hee, the Okeh Music and Dance Research Institute nurtured numerous other talents in music and dance, such as Kang Yun-bok (강윤복; 康允福), Shim Yeon-ok (심연옥; 沈蓮玉), and Joo Ri (주리; 朱莉), significantly contributing to the continuation of Lee Cheol's legacy until the 1950s. The Aoi (アオイ) Music Theatre Troupe, a performance group, was established in May 1941.

Similar to the Joseon Music Theatre Troupe, the Joseon Entertainment Company managed the Aoi Music Troupe, which seemingly maintained a strong affiliation with the Okeh Music and Dance Research Institute. The troupe consisted entirely of female newcomers, and the Okeh Institute was the primary source for such talent, indicating a natural collaboration. The term 'Aoi,' which translates to 'blue' in Japanese, likely derives from 'Aoyama,' the surname of Lee Cheol, the leader of the Joseon Entertainment Company.

Following Lee Cheol's death in June 1944, the Okeh Institute rebranded itself as the Cheongsan Music and Dance Research Institute, further linking the name to Lee Cheol. The Aoi Music Troupe made its debut along the Honam Line in late May 1941; however, the absence of subsequent records suggests it may not have achieved commercial success and was likely disbanded. From the perspective of the Joseon Entertainment Company, this initiative can be viewed as a trial endeavour.

The last witness of the 'Joseon Musical Troupe', the life of Kang Yun-bok

This article was published after Kang Yun-bok’s (강윤복) who was a veteran dancer passed away in 2015, and talk about his life who worked for Okeh Records, and like the title says, he was a witness of the ‘Joseon Musical Troupe’ (조선악극단). I’ll briefly talk about him with the little information i found about him, as for some reason there is little information about him, don’t know why?

Veteran dancer Kang Yun-bok, whose birth name was Kang Yun-deok (강윤복), passed away on May 12, 2015, at the age of 91, due to natural causes.

Born in Pyongyang in 1924, Kang was a prominent member of the Joseon Music Troupe, a notable musical ensemble during the Japanese colonial era, and subsequently performed with the KPK Orchestra under the direction of composer Kim Hae-song, as well as the 8th US Army Show.

Kim Yun-bok during a KPK Orchestra performance in the late 1940s.

The 8th US Army Show thrived from 1953, coinciding with the presence of US forces during the Korean War, until the mid-1960s, when troop levels decreased due to the Vietnam War, and it was instrumental in launching the careers of various stars, including Patty Kim and Bok hee Yoon.

Music critic Park Sung-seo remarked that Kang Yun-bok was the last living member of the Joseon Akgeukdan, the premier popular culture group of the Japanese colonial period, noting that his low public profile has contributed to his obscurity, despite his significant role in the history of popular music.

Kang was married to the late Jeon Hae-nam, a trailblazer in Korean tap dancing, and he is survived by his son Park Jae-bin and daughters Dan-hee, Jin-hee, and Hyeon-hee.

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In September 1940, a significant milestone occurred in the realm of Korean popular arts with the establishment of the Okeh Music and Dance Research Institute by Lee Cheol, a prominent figure in colonial Joseon's music scene. Lee, who had already made a substantial impact through his work with Okeh Records and the Joseon Music Theatre Company, aimed to cultivate future talent in popular arts through this private educational institution. The institute became a breeding ground for numerous musicians and dancers who gained prominence in the 1940s and 1950s.

Kim Hae-song, Kang Yun-bok, and Joo Ri during a KPK Orchestra performance in the late 1940s.

The inaugural class attracted many teenage girls, who were enticed by the offer of free music, dance, and liberal arts education for three years, with the opportunity to perform on the Joseon Music Theatre Company stage for those who excelled. Ultimately, around 40 students were selected based on their appearance, talent, and growth potential, although the curriculum, which encompassed music theory, vocal training, and diverse dance styles, proved to be quite challenging.

After three years, only nine students graduated from the initial cohort of 40, among whom Kang Yun-bok (1924-2015) emerged as a notable dancer alongside Kim Baek-hee, a vocal music standout. Kang, who passed away on May 12, had initially enrolled at the research institute while attending Sookmyung Girls’ High School, driven by her passion for dance despite her family's strong opposition. Her remarkable talent and dedication soon alleviated her family's concerns, allowing her to flourish in her chosen path.

In April 1941, merely six months after his enrolment at the institute, he made his debut with the ‘Joseon Musical Troupe’ (조선악극단), quickly becoming a prominent member of the ensemble that performed across Korea, Manchuria, Japan, and China. By May 1943, he witnessed Prince Yeong Chin moved to tears by Kim Jeong-gu’s rendition of “Fallen Flowers Three Thousand” at the Prince’s Tokyo residence, and in June 1944, he learned of the unexpected passing of Lee Cheol, the troupe's leader, in Shanghai.

Kang Yun-bok, who appeared in a theatre show in the late 1950s

Following liberation, as the Joseon Akgeuk Troupe began to wane, Mr. Kang Yun-bok transitioned to the KPK Orchestra, which debuted in December 1945. This orchestra, founded by composer Kim Hae-song—a former key member of the Joseon Akgeuk Troupe who had departed earlier—incorporated many of its members, including Mr. Kang Yun-bok, effectively becoming its successor.

While the early 1940s marked the prominence of the Joseon Akgeuk Troupe, the late 1940s signified the rise of the KPK Orchestra. With the burgeoning Akgeuk market, Mr. Kang Yun-bok not only performed with various groups, including the KPK Orchestra, but also emerged as a significant choreographer.

The onset of the Korean War led to the loss of Kim Hae-song, the disbandment of the KPK Orchestra, and a swift decline in Akgeuk; however, Mr. Kang Yun-bok's influence in popular dance expanded during this tumultuous period.

In addition to various performances that supplanted musicals, the U.S. 8th Army Show, which gained momentum in the mid-1950s, and the presence of U.S. troops in Okinawa, Japan, created a demand for Mr. Kang Yun-bok's dance expertise. Furthermore, with the decision to deploy Korean troops to the Vietnam War, the Southeast Asian performance venues also sought his talents.

Beginning in the late 1960s, Kang Yun-bok primarily focused on stage and broadcast choreography while dedicating himself to mentoring future artists. His nearly four-decade career, which concluded in the late 1970s, represents a crucial chapter in the evolution of Korean popular dance. Despite the significant decline of this genre over the years, Kang's contributions extend beyond popular dance, playing a vital role in enriching the broader narrative of modern and contemporary Korean performing arts.

Group of women that worked in Okeh Records. Not shore when this photo was taken probably around 1940s, and the name of the women are in the photo.

The National Arts Archives has persistently sought Kang Yun-bok's involvement in the ongoing "Oral Recording of Korean Modern and Contemporary Art History" project, initiated in 2003. After several refusals, he finally agreed to participate on the 15th of last month.

Preparations for the project were progressing smoothly, with plans to finalize administrative tasks and commence the official oral recording in early June; however, Kang Yun-bok's unexpected passing occurred before this could take place. The loss of this key figure, who could have provided invaluable insights into the largely unrecognized Chosun Akgeukdan and KPK Orchestra, is profoundly felt.

While it is not uncommon for an individual's death to erase memories of a particular era, the immediate sense of loss in this instance is striking. Nevertheless, Mr. Kang Yun-bok left behind words and materials, and it is hoped that these can be gathered to illuminate the rich history of the past stage performances.

Joseon Musical Troupe's Performance to visit Prince Yeong Chin

This article published in 2010 was about a photo of the ‘Joseon Musical Troup’ visiting Prince Yeong Chin, that was deemed lost or a myth being found. I won’t go into much detail about the two royal family members shown in the photo as my main focus here is the ‘Joseon Musical Troup’.

Crown Prince Uimin Yi Eun, also known as Prince Yeong Chin or Lee Eun, lived from October 20, 1897, to May 1, 1970. He was part of the Imperial Family of the Korean Empire and held a political role within the Empire of Japan. He was married to Princess Yi Bang-ja, who was born on November 4, 1901, and passed away on April 30, 1989. Princess Yi Bang-ja was also a member of the Imperial Family of Japan and was the eldest daughter of Prince Nashimotonomiya Morimasa, making her the first queen.

At the former location of the palace, the evening smoke drifts lazily in the gentle river breeze, prompting a reflection on the fate of the three thousand palace ladies who once resided there.

In 1943, Kim Jeong-gu, a prominent 27-year-old singer of his era, performed his renowned song "Fallen Flowers Three Thousand" (낙화삼천) at the Akasaka mansion in Tokyo for Prince Yeongchin (Lee Eun) and Princess Yeongchin (Lee Bang-ja), who were held captive in Japan. The poignant performance moved Prince Yeongchin to tears, and soon, all fifty attendees were similarly affected.

A notable legend in Korean pop history recounts how the finest singers of the Joseon dynasty travelled to Japan to perform for Prince Yeong Chin, resulting in a collective outpouring of tears from the audience. The photograph surfaced, providing evidence that substantiates this poignant narrative. (The photo in question shown below)

This photo was taken in 1943 after they finished a performance in Tokyo to comfort Prince Yeong Chin. It was obtained and made public by Lee Jun-hee (이준희), a visiting professor at Sungkonghoe University (성공회대학교; 聖公會大學校). Prince Yeong Chin (Lee Eun) (영친왕(이은) and Princess Yi/ Lee Bang-ja (이방자) can be seen in the centre of the photo surrounded by the ‘Joseon Musical Troupe’.

Lee Jun-hee, a visiting professor at Sungkonghoe University and an authority on vintage pop music, revealed on the 24th that he uncovered a commemorative photograph of the ‘Joseon Musical Troupe’ (조선악극단), which featured prominent artists of the era such as Kim Jeong-gu, Lee Nan-young, Jang Se-jeong, Song Dal-hyeop, and Kim Hae-song, alongside Lee Bok-bon and Lee Jong-cheol, during their visit to Prince Yeong Chin’s residence in Akasaka in 1943, where they held a consolation performance for the king.

The photograph was preserved by Kang Yun-bok, an 86-year-old first-year researcher at the Music and Dance Research Institute of Oke Records, led by Lee Cheol, the troupe's head, and Kang's experience parallels that of a modern trainee in a major entertainment agency. He also recounted the poignant moment when Prince Yeong Chin and the troupe members were moved to tears by Kim Jeong-gu's performance.

The professor noted that the Joseon Akgeukdan, established in the 1930s, was instrumental in cultivating many legendary singers and enjoyed significant popularity in Japan, which contributed to their emotional connection to Prince Yeong Chin, reflecting their sorrow over the loss of their homeland, a sentiment shared by all the performers who have since passed away.

I found the news clip of the ‘Joseon Musical Troupe’ first public release of footage of them. First public release of footage of the 'Joseon Akgeukdan' from the Japanese colonial period Anchor Translation – “Do you know about the 'Joseon Musical Troupe', which featured the best stars of the time during the Japanese colonial period? KBS has obtained footage of the Joseon Musical Troupe's activities, which soothed the nation's sorrow. This is reporter Cho Ji-hyeon.” Report Translation - "This is a performance by the Joseon Music Troupe in Japan in 1939, during the Japanese colonial period. The song they are singing passionately is the new folk song “A New Day Is Dawning.” You can see the faces of Go Bok-su, the greatest star of the time, from Living in a Foreign Land, Lee Nan-young from Tears of Mokpo, Jang Se-jeong from The Ferry Departs, and Nam In-su. This is “Money Song” sung by Kim Jeong-gu. <Recording> “The wind is blowing. The wind of money is blowing.” The conductor, Son Mok-in, is a giant of our music industry who composed Tears of Mokpo and Living in a Foreign Land. These videos were inserted into a Japanese film and are being released for the first time in 70 years. <Interview> Lee Jun-hee (Visiting Professor at Sungkonghoe University): “The oldest popular song material... It has tremendous historical significance.” During the Japanese colonial period, the Joseon Music Troupe enjoyed immense popularity, to the point of touring China and Japan. A photo taken in 1943 with the Joseon Music Troupe at the invitation of Prince Yeongchin, who was taken as a hostage to Japan, has also been released. It is said that Prince Yeongchin shed tears when Kim Jeong-gu sang 'Nakhwasamcheon', which is about the fall of Baekje. The Joseon Musical Troupe, which comforted the pain of the nation with songs during the colonial period. You can watch videos of their activities on the special song stage for the founding of the public corporation. This is Jo Ji-hyun from KBS News."

The photograph was featured on KBS 1TV's "Gayo Stage" as part of a special broadcast commemorating Independence Movement Day on March 1. During this episode, a video from 1939 showcasing the Joseon Akgeukdan was presented, which the production team acquired through a professor. The footage included performances by notable singers such as Nam In-su, Kim Jeong-gu, Go Bok-su, Jang Se-jeong, and Lee Nan-young, who collectively sang contemporary folk songs like "Don Taryeong" and "A New Day Is Bright." Producer Kang Young-won remarked that this video is likely the oldest surviving recording related to Korean pop music

There are probably more interviews about people talking about Okah Records and other Korean record company artists out there but at this point i can't find any more. If people can find any more interviews about veteran artists just post them below, it would really helpful.

While concluding my research on Okah Records, I discovered several interviews filmed in 2009 featuring individuals who were either married to or children of the artists associated with Okah Records during the 1940s. The interviews included Lee Young-mi, daughter of Lee Cheol; Oh Jeong-sim, wife of Son Mok-in; and Kim Young-jae, son of Kim Seong-heum. Unfortunately, these videos lack subtitles, leaving me unable to comprehend their discussions.

Despite the limited availability of videos featuring their families discussing these renowned artists, gaining insights and engaging with those who knew them proves invaluable for understanding the history of the Korean entertainment industry prior to liberation.

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The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 4/? (Rewrite)

This is a continuation from Part 3, this is on the broadcasting in Korea that the Yeonhui Professional Quartet performed on and many other acts during the Japanese Colonial Period.

The birth and demise of broadcasting stations

This text provides an overview of the broadcasting stations in Korea from the period prior to liberation through the 1980s and 1990s.

The emergence and dissolution of broadcasting stations in Korea hold significant historical importance. This narrative includes the pivotal moment of Korea's liberation from Japanese colonial rule, the media consolidation measures implemented in 1980, instances where private broadcasting entities failed to obtain approval from regulatory bodies, and the various factors contributing to the closure of these stations, including economic challenges and shifts in international circumstances.

Gyeongseong Broadcasting Station (JODK)(경성방송국)

I previously refrained from discussing this broadcasting station because I was still unfamiliar with Korean history research and believed there was insufficient information available. Consequently, I thought including it would not be beneficial. However, I will incorporate it now, as I have discovered intriguing details about its significant role in the Korean industry, particularly in supporting the promotion of both historical and contemporary Korean acts.

The Gyeongseong Broadcasting Station (JODK) (경성방송국; 朝鮮放送協會), established during the Japanese colonial period, was the first broadcasting entity to halt operations after Korea's liberation. Its operational timeline is February 16th 1927 till August 5th 1948. Although the name Gyeongseong Broadcasting Station was discontinued post-liberation, a significant question arises regarding whether the subsequent broadcasting organization should be viewed as a continuation of the original station or as the founding of a new entity.

The first broadcasting station in Korea established by Japanese, Gyeongseong Broadcasting Station (JODK, 1927-1947)

On November 30, 1926, the Gyeongseong Broadcasting Station received permission from Japanese nationals and the Japanese Government-General of Korea to operate broadcasting and wireless telephone services as a corporate entity. It subsequently registered with the Gyeongseong District Court on December 11. This establishment was presented as a means to promote the cultural development and welfare of the peninsula's residents, which led to the approval of the 'Gyeongseong Broadcasting Station' and a 'broadcasting culture facility.'

First broadcast site (Gyeongseong Broadcasting Station site), 1-76 Jeong-dong, Jung-gu, Seoul (inside Deoksu Elementary School).

As a result, the Gyeongseong Broadcasting Station, which opened on February 16, 1927, became the first broadcasting station in Korea and the forerunner of today's KBS. Established by Japanese individuals with support from the Japanese Government-General, the station aimed to meet the informational and cultural needs of the Japanese community in Korea while also promoting compliance among Koreans with the Japanese colonial regime.

The board of directors was entirely composed of Japanese members, one of whom was responsible for nominating a chairman, subject to the approval of the Director of the Postal Bureau of the Government-General. Ultimately, the Gyeongseong Broadcasting Station operated as a non-profit organization that primarily advanced Japan's interests in reinforcing its colonial agenda in Korea, neglecting the aspirations of the Korean people.

What is JODK?

The call sign JODK was assigned to Gyeongseong Broadcasting Station, making it Japan's fourth station after the ITU designated the prefix JO, following Tokyo (JOAK), Osaka (JOBK), and Nagoya (JOCK). The Government-General of Korea initially opposed the use of the call sign DK by the Japanese Post Office, arguing it contradicted Japan's colonial policy of integrating domestic and foreign stations, leading to the designation of DK as the fourth call sign.

Formation policy in the early days of the country

The inception of the Gyeongseong Broadcasting Station coincided with the nascent phase of broadcasting in Japan, characterized by a lack of established programming principles, which hindered the organization of programs according to any systematic policies.

Article 6 of the Japanese "Summary of Research" emphasizes that broadcasting management in Japan should prioritize practical reporting—covering aspects such as time, weather, awards, and news—while relegating music to a secondary role.

Instrumental ensemble that appeared on Gyeongseong Broadcasting Station

This principle was inevitably imposed on Korea, a colony, albeit with an additional programming directive aimed at appeasing the Korean populace, which proclaimed the enhancement and development of Korean culture as an ideal. Despite the Gyeongseong Broadcasting Station's assertion of a mission focused on cultural advancement and public welfare, it effectively functioned as a crucial instrument of national policy in the governance of the peninsula.

Early alternate broadcasting (mixed broadcasting)

Upon its inception, the broadcasting system was characterized by an unusual structure, featuring alternating Korean and Japanese broadcasts on a single channel. Initially, the ratio of Korean to Japanese broadcasts was set at 1 to 3; however, following criticism from various media outlets, this ratio was adjusted to 2 to 3 in July of that year, maintaining the alternating format.

This approach, referred to as mixed broadcasting, manifested in four distinct formats: first, simultaneous broadcasting of Korean and Japanese programs within the same time slot; second, grouping programs for alternating broadcasts centered around time reports; third, separating programs to air on alternate days; and fourth, scheduling Korean broadcasts late at night after the conclusion of all Japanese programming.

Implementation of double broadcasting

In the initial phase of broadcasting, the disparity in the availability of Korean and Japanese languages created dissatisfaction among listeners. To remedy this issue, a dual broadcasting framework was established on April 26, 1933, which featured Japanese as the primary language for the first broadcast and Korean for the subsequent one. This initiative resulted in the formation of a dedicated Korean-language channel that developed content specifically for Korean audiences, while news was predominantly delivered in Japanese and subsequently translated into Korean.

There were concerted efforts to maintain traditional Korean culture through various educational and entertainment programs, some of which garnered positive reception from Japanese listeners. Nevertheless, the growth of Korean broadcasting was curtailed by the onset of the Sino-Japanese War in 1937, as radio became a means for the Governor-General’s administration to galvanize nationalistic sentiments.

English - Han Seong-jun, Im Bang-ul, Lee Hwa-jung, Jeong Jeong-ryeol, Park Nok-ju, and Kim So-hee appeared on Gyeongseong Broadcasting Station Korean - 경성방송국에 출연한 한성준·임방울·이화중선·정정렬·박녹주·김소희

In 1941, with Japan intensifying its military engagement in the Pacific War, the Tokyo Broadcasting Corporation refined its radio offerings by focusing on immediate news reporting, much of which was designed to propagate militaristic and imperialistic narratives. Radio became an essential tool in sustaining the wartime governance framework. A notable event transpired in December 1942, when several individuals were apprehended for secretly tuning into the prohibited Voice of America shortwave broadcasts at the Kaesong Broadcasting Station, resulting in the temporary halt of the second broadcast in June 1943.

Discussion on the duration of the Broadcasting Station

The Gyeongseong Broadcasting Station's timeline is unclear due to its ongoing operations through various changes, rather than a clear closure and reopening, resulting in differing interpretations of its post-liberation history.

The U.S. Military Government initially took control of the Gyeongseong Broadcasting Station, including JODK, integrating it into the Public Information Department while the Ministry of Post and Telecommunications managed broadcasting technology and facilities, as per Military Government Ordinance No. 64 on March 29, 1946. The station was restructured into a broadcasting department and reestablished as a station in October of the same year.

The timeline of Japanese control over the broadcasting station is crucial. After liberation on August 15, the Japanese military occupied the station on August 17 for security until September 8. On September 15, following the dismissal of the Government-General of Korea's directors by the U.S. Commander, Japanese officials resigned, leading to the full transfer of the Korean Broadcasting Association to Korean management under U.S. Military Government oversight.

An additional criterion for evaluating the Gyeongseong Broadcasting Station's call sign 'JODK' is its duration of use. The call sign KBS was first used with the regular broadcasting system on October 18, 1946. Before this, broadcast schedules were known only to staff, and a 15-minute quarter system later required a call sign after each segment. The lengthy English call sign KBS (Korea Key Station of the Korean Broadcasting System) was used. Additionally, the call sign 'HL' was assigned on September 3, 1947, during the International Radiocommunication Conference and began broadcasting in Korea on October 1, 1947 (Korean Broadcasting Association, 1997).

While there are various views on the timeline of the Gyeongseong Broadcasting Station's operation, the author suggests September 15, 1945, when the Joseon Broadcasting Association and Gyeongseong Central Broadcasting Station were fully transferred to Korean control, as the definitive reference point.

Negative evaluation of Gyeongseong Broadcasting Station

There is both negative and positive of the evaluation of the Gyeongseong Broadcasting Station.

Critical perspectives question the classification of Gyeongseong Broadcasting Station as the origin of broadcasting in Korea, primarily due to its establishment being a product of Japan's colonial agenda rather than a reflection of Korean initiative. This colonial context underpins the argument against recognizing Gyeongseong Broadcasting Station as a legitimate Korean broadcasting entity.

Initiated by Japanese broadcasting professionals and utilizing Japanese technology, Gyeongseong Broadcasting Station served as a tool for the exploitation of the Korean Peninsula during the colonial era, with its initial audience comprising government officials and Japanese merchants aligned with colonial interests.

A scene from the Gyeongseong Broadcasting Station broadcasting a song in the 1930s.

Park Ki-seong (박기성) (1985) identifies several characteristics of radio broadcasting as a mechanism of colonial control, including its role in implementing colonial policies, undermining Korean culture, facilitating mass persuasion, showcasing Japanese cultural superiority, creating a market for Japanese broadcasting, and fostering internal unity to support Japan's militaristic expansion.

Consequently, there is a prevailing argument that Gyeongseong Broadcasting Station should not be regarded as a Korean broadcasting station, with the date of September 3, 1947, when Korea received its call sign 'HL' from the International Radiocommunication Conference, being proposed as the true inception of Korean broadcasting.

Positive evaluation of Gyeongseong Broadcasting Station

Conversely, some individuals view Gyeongseong Broadcasting Station positively, noting its significant contributions despite being established by the Japanese. It advanced broadcasting technology, promoted a standardized Korean language, supported children's emotional development through songs, preserved traditional music like Aak and Pansori, and laid the groundwork for the evolution of broadcast content, including dramas.

Unfortunately, numerous recordings produced by Gyeongseong Broadcasting Station from its inception until the 1940s were either lost or destroyed during the Korean War.

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The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 3/? (Rewrite)

In my previous post, I noted the absence of a clearly defined "first" male musical ensemble in Korea prior to liberation, with both the Yeonhee Professional Quartet and the 'Youth Member' frequently recognized as early contributors. These two groups exhibit notable similarities and play pivotal roles in the historical narrative of male musical ensembles in Korea.

The documentation for the Yeonhee Professional Quartet is considerably more comprehensive than that for the 'Youth Member' during the 1920s and 1930s, with surviving information favouring the former. Consequently, the Yeonhee Professional Quartet is often acknowledged as the first male ensemble in Korea to operate under an official name, predating the 'Youth Member' group.

The Yeonhui Professional Quartet is distinguished as the inaugural male group in Korea to possess an official team name, consisting of students from Yonhui College, which is the predecessor of Yonsei University.

Before delving into the specifics of the Yeonhui Professional Quartet, I will provide background information on the College itself.

*Note - Yeonhee College has undergone various name changes and spellings, including Yonhui, Yeonhui, Yonhee, and Yonsei, with Yonsei being its current name.

Yonsei University (연세대학교)

In my earlier post, I provided a brief overview of the incorporation of Western cultural aspects, including architecture and music, into Asia, specifically analyzing their assimilation within the frameworks of China, Japan, and Korea. I will now shift my attention to the historical context and background of Yonsei University (연세대학교), if you want to know more about the whole history of Yonsei University I added the link to the wiki.

Yonhui College and what it looked like in 1918 which is still used today.

Background

Yonsei University (연세대학교; 延世大學校), a distinguished private institution located in Seoul, South Korea, is deeply rooted in Christian principles. Established in January 1957 through the amalgamation of Yonhi College (연희전문학교; 延禧專門學校) and Severance Union Medical College (세브란스 의과대학; 세브란스 醫科大學), its origins trace back to the 1920s.

Yonhui College, founded in 1915 as Chosun Christian College (조선기독교대학; 朝鮮基督教大學),was among the earliest modern educational establishments in Korea, while Severance Union Medical College evolved from Gwanghyewon (광혜원; 廣惠院), the nation's first modern medical institution, established in 1885. The university's name, "Yonsei," reflects its heritage, combining elements from both founding colleges.

Photo 1 - Underwood Hall of Yonsei College seen from below (1939). Photo 2 - Underwood Hall, which houses administrative offices (2017).

Yonhui College, which succeeded Gyeongsin School, played a pivotal role in the formation of Yonsei University alongside Severance Hospital. Initially established as Joseon Christian School on March 5, 1915, it was reconstituted as Yonhui College, a private institution, on April 7, 1917.

During the latter part of the Japanese colonial era, in April 1944, the institution was seized under the guise of enemy property, leading to the expulsion of Korean administrators and faculty by the Japanese Government-General of Korea, and it was subsequently renamed Gyeongseong Industrial Management College.

Following Korea's liberation on August 15, 1945, the institution was elevated to university status and officially renamed Yonsei University.

History:

Beginnings (1885–1916)

Yonsei University Medical School has its roots in the establishment of Gwanghyewon on April 10, 1885, recognized as Korea's first modern hospital to implement Western medical practices.

Founded by American Protestant missionary Horace Newton Allen, the institution was renamed Chejungwon (제중원; 濟衆院), meaning "House of Universal Helpfulness," on April 26. In response to various challenges, Canadian Oliver R. Avison took over management on July 16, 1893. Initially supported by the Korean government, the hospital faced financial difficulties during the First Sino-Japanese War and the Gabo reforms (갑오개혁) in 1894, resulting in its complete oversight by the church.

The Yonsei College flag flutters in the wind in 1939.

In 1899, Avison attended a missionary conference in New York City, where he highlighted medical efforts in Korea, attracting the interest of philanthropist Louis Severance, who made substantial contributions to new facility construction, leading to the hospital's renaming as Severance Hospital.

Although primarily a hospital, Chejungwon (later Severance Hospital) also focused on medical education, enrolling its first class of 16 medical students in 1886, a year after its inception. By 1899, it achieved independent status as a medical school, and in 1912, increased collaboration among various missionary groups resulted in its rebranding as Severance Union Medical College in 1913.

The broader history of Yonsei University begins with the founding of Chosun Christian College on March 5, 1915, by American Protestant missionary Horace Grant Underwood, who was sent by the church. Underwood served as the first president, with Avison as vice president, and the college was initially located at the YMCA (Young Men's Christian Association), commencing courses in April with 60 students and 18 faculty members.

During WW I & II

On August 22, 1910, Japan annexed Korea via the Japan–Korea Treaty. In 1911, Governor-General Terauchi Masatake enacted the Ordinance on Chosun Education (조선교육령; 朝鮮敎育令), followed by regulations in 1915 that aimed to suppress private education, requiring all schools to obtain approval from the governor-general and conduct instruction in Japanese.

Chejungwon (Gwanghyewon) inside Yonsei University campus, restored to its current form in the 1980s (2009).

Severance Union College struggled to meet these regulations, leading to changes in policies, curriculum, faculty expansion, and clarification of its governance. It gained recognition as a professional medical school on May 14, 1917. In 1922, Governor-General Makoto Saito's Revised Ordinance on Chosun Education (개정조선교육령) imposed stricter faculty qualifications, prompting Severance to hire more faculty with degrees from accredited institutions. By 1923, Severance regained the authority to confer medical licenses to graduates without a state exam, a privilege lost since 1912. In March 1934, the Japanese Ministry of Education validated Severance by allowing its graduates to practice medicine across Japanese territories.

In 1934, Oh Geung Seon (오긍선; 吳兢善) became Severance's first Korean president, marking a significant milestone in the institution's history.

Ordinance in front of Underwood Hall (1939)

The 1915 and 1922 ordinances greatly impacted Chosun Christian College, which aspired to be recognized as a college but was classified as a "professional school" due to the 1915 Ordinance prohibiting Korean private colleges. It later became Yonhui College, evolving into a university with six departments, while facing curriculum restrictions that banned courses in Korean history, geography, and the Bible outside theology. The missionary council criticized Japan's strict regulations compared to its private schools.

After the March First Independence Movement in 1919, Japan's control over Korea eased, as shown by the 1922 Ordinance, which lifted strict oversight of educational content and allowed Yonhui to include Christian programs and the Bible in its curriculum, while still requiring Japanese literature. Korean history was rebranded as Eastern History, and the Korean language was incorporated when possible.

Post-1922, Yonhui discontinued its Department of Agriculture after its first cohort graduated, and efforts to reinstate it were largely unsuccessful, though a training centre for agricultural education was established.

Yonhee College campus (1939).

Yonhui had an open policy for admitting non-Christians, allowing Christian students to influence them. However, in the late 1930s, Japan intensified its assimilation efforts in Korea under Governor-General Jirō Minami, implementing policies like Sōshi-kaimei and enforcing Shinto practices while recruiting Koreans for the military.

The 1938 Ordinance on Chosun Education mandated Shinto adoption, reduced Korean language instruction, and emphasized Japanese studies. Yonhui resisted by introducing Korean language courses in late 1938, but by March 1940, it was forced to adopt Japanese studies.

English classes were restricted due to deteriorating U.S.-Japan relations, leading to a ban on English coursework. In 1938, President H.H. Underwood accepted Shinto practices to keep Yonhui open, while pressure from governors-general resulted in the loss of U.S. financial support, worsening the institution's financial situation.

Photo 1 - Lee Han Yeol Memorial The June Democratic Struggle began on June 9, with student organizations mobilizing for protests on June 10. Lee Han-yeol, a Yonsei University student, was critically injured by a tear gas grenade and became a symbol of the protests. He died on July 5, shortly after the government met public demands. His national funeral on July 9 drew over 1.6 million mourners, and he was buried at the May 18th National Cemetery. 1987: When the Day Comes (2017) Korean movie based on the true story, and focuses on the events that led up to the June Democratic Uprising in Korea caused by his death.

At first, sang Hymns, School songs, and Cheer songs

This is where it might become a bit confusing for some as it mentions other songs and Album Numbers that might not make sense to how its apart of the History Korean Male Groups, but it does is some way.

The official debut song of the Yeonhee College Choir was the Yeonhee College cheer song and school song recorded on the Columbia SP Album (Album number 40358) in September 1932. In other words, they were not a male vocal team singing popular songs from the beginning. So, at first, the team’s name was written on the album as Yonhee College's quartet.

Those who sang hymns and school songs on campus released ‘Watermill’ and ‘Farmer's Song’ in September 1932, following ‘Idiot Tour of Seoul’, an adaptation of a song by foreign composer Smith, and ‘Let's Play’, a black folk song (Columbia Records, Album Number 40359). The folk song SP (Colombia Records, Album Number 40361) containing, was released under the same team’s name. So, there is more than one Yeonhee Quartet.

Yeonhee Professional Orchestra (연희전문사중창단)

Yeonhee Professional Quartet, Vocal Quartet, Ensemble or Orchestra seem to be the same but might actually be different groups, which threw me off a bit, especially with all the photos of the groups that the University had. It’s confusing since there might have been several groups with the same name at the University, and I’m not sure which male group was the first to “debut”. So, I’ll just compile all the photos and related info together. Overall Yeonhee University might have been the first to debut a Korean male group.

An orchestra/ Quartet/ Ensemble composed of students attending Yonsei University during the Japanese Colonial Period. 

The 1960s marked a notable increase in the popularity of male quartets in Korea, with groups such as the Bluebells, Mellotone Quartet, Johnny Brothers, Bongbongsa Quartet, and Arirang Brothers emerging as prominent figures in the music scene. The Bluebells, often referred to as 'Korea's first male vocal group', played a pioneering role in this genre. Nevertheless, it is important to recognize that the Yeonhee Professional Quartet, originating from Yeonhee College, had already made significant contributions to the musical landscape during the Japanese colonial era, thus laying the groundwork for future male vocal harmony ensembles in Korea.

Photo 1 - Yeonhee Professional Quartet (연희전문사중창단) (1932) Names of the people in the photo: English – Lee In-beom, Choi Seong-du, Hwang Jae-gyeong, Shin Yeong-gyun (Piano Hyun Je-myeong) Korean - 이인범, 최성두, 황재경, 신영균(피아노현재명)

Established in 1929, the Yonhui College Orchestra/Quartet conducted biannual concerts for approximately a decade, beginning in 1930, under the leadership of Hyun Je-myeong (현제명). This initiative not only showcased the talents of the ensemble but also contributed to the cultural fabric of the time, reflecting the evolving musical tastes amidst the backdrop of colonial rule. The Yeonhee Professional Quartet, recognized as the first male vocal ensemble in Korea, transitioned from performing hymns and school songs to embracing popular music, thereby broadening their appeal and influence.

Photo 2 - Yeonhui College Orchestra (연희전문사중창단) and its leader, Hyun Je-myeong (현제명) (second from the right)Date of photo taken and student’s names are unknown.

The Yeonhee Professional Quartet, comprised of tenor Lee In-beom, Choi Seong-du, bass Hwang Jae-kyung, second bass Shin Young-gyun, and pianist Hyun Je-myeong (현제명), made their debut in September 1932 with the release of Yeonhee College's "Cheering Song" (응원가) and "School Song" (교가). They subsequently produced a variety of folk songs and original compositions, including "I Am Silhyeo" or “I'm lost” (나는 실혀) and "Hahaha," (하.하.하) and gained exposure through performances on Gyeongseong Broadcasting Station (JODK) (경성방송국).

Photo 3 - Yeonhui Professional Orchestra (연희전문사중창단) (1933) Date of photo taken and student’s names are unknown.

This ‘group’ could be considered at the first Korean or Foreign-Korean co-ed group/ Orchestra, as you can see two females and two or three foreign people in the front row (I don’t think the people in the photo could be considered a “group” as it could be classed as an Orchestra, as mentioned under the photo) from Yeonhee University, but there is no information confirming that (this is my opinion).

Adding to the people that are in the picture it looks like that there are a few foreign men in the front row next to the two females on the right (shown in photo 1 above), I zoomed into the photo and you can see two or three foreigners in the photo (shown in photo 2 above), this would make sense as the University was founded by Horace Newton Allen, an American Protestant missionary and was appointed to Korea by the Presbyterian Church in the USA.

The activities of this orchestra facilitated the emergence of musicians such as Kim Seong-tae (김성태), Lee In-beom (이인범), Kim Saeng-ryeo (김생려), and Lim Dong-hyeok (임동혁).

On October 10, 1933, the Joseon Musicians Association hosted a music recital for Hyun Je-myeong and Hong Nan-pa at Ewha Haktang in Jeongdong, during which the Yonhui College Choir performed "Boat Song," composed by Hyun Je-myeong with lyrics by Lee Eun-sang (이은상), alongside "Watermill" and "Jeolumbari," both also written by Lee Eun-sang and composed by Hyun Je-myeong.

Lee Eun Sang (이은상) (Pen Name - Nosan) (1903 – 1982) was a Sijo Writer, historian and a poet and after liberation, he wrote ‘Nosan Sijo Anthology’ and ‘The Meaning of the Blue Sky’.

The lower grades of Ewha Hakdang, in the 1910s. Ewha Haktang (이화학당; 梨花學堂) in Jeongdong now Ewha Woman’s University, was founded/ established in 1886 by Mary F. Scranton a female American missionary.

“I'm lost” (나는 실혀) and "Hahaha," (하.하.하)

In April 1933, the Yeonhee Professional Quartet (연희전문사중창단) produced a sound recording for Columbia Records that included "Hahaha" (하.하.하), an adaptation of a work by the foreign composer Crown, as well as "I am Silheo" or "I’m Lost" (나는 실혀), composed by Sherborne (셜본이). Interestingly, the album attributes the arrangement to Ji Gong-bo, who is believed to be a foreign arranger who is specified on the album, a practice that is quite rare.

I couldn’t find anything on composers Crown and or Sherborne only that it’s a school in the UK, and couldn’t find anything on Ji Gong-bo as well?

‘I am lost’ (나는실혀)/ ‘Ha.Ha.Ha’ (하.하.하) – Vinyl Record Front.

This phonograph album marks the debut of the Yeonhui Professional Quartet, recognized as Korea's first male vocal ensemble, as they earnestly began performing popular songs across various genres. The album signifies their transition from academic life to a professional career as a vocal group. Notably, a photograph exists of the quartet alongside Professor Hyun Je-myeong (Photo 1 shown below), who accompanied them on piano during a broadcast on Gyeongseong Broadcasting Radio (JODK) (경성방송국) shortly after the album's release (as already mentioned above).

Following their initial release, the quartet produced several notable recordings, including "Yuwangmin's Song" (유랑민의 노래) and "Joseon's Song" (조선의 노래) in August 1933 (album number 40450), as well as "Mungteongguri Jangga-ga" (멍텅구리 장가가요) and "Goodbye" (굿빠이) in September 1934 (Colombia Records, album number 40536). In January 1935, they continued their output with "My Wife Sleeping" (낫잠자는 마누라) and "Sapsaegae" (삽살개). During this period, the ensemble was still referred to as the Yeonhui Professional Quartet.

In April 1935, the group rebranded as the ‘Yeonjeon Quartet’, and by December 1936, they released "Jeolleumbali" (절늠발이) composed by Hyun Je-myeong, which represents their final known album release. The phonograph records produced by the quartet are now regarded as rare artifacts, making them difficult to encounter in contemporary collections.

Included Songs:

The two song that were on the vinyl that were sung by the Yeonhee Professional Quartet.

Yeonhee Professional Quartet Members:

The only photo that has names attached to them is Photo 1: Lee In Beom (이인범), Choi Seong Du (최성두), Hwang Jae-gyeong (황재경), Shin Yeong-gyun (신영균) (Piano Hyun Je-myeong) (피아노현재명). I will briefly talk about him and the other members here but will go into detail about them separately in future posts.

Hyeon Je Myeong (현제명; 玄濟明)

Hyun Je Myeong (December 8 , 1902 – October 16, 1960) (His pen name is Hyeonseok and Japanese name is Kuroyama Saimei) was a pianist , violinist , tenor singer , song lyricist , song composer , and arranger during the Japanese colonial period in South Korea. He was included in the list of 708 pro-Japanese collaborators announced in 2002, the list of people scheduled to be included in the Dictionary of Pro-Japanese Collaborators by the Institute for Research in Collaborationist Activities published in 2008, and the list of 704 pro-Japanese collaborators announced by the Truth and Reconciliation Commission on Pro-Japanese Collaborators in 2009. In the second half of 2008 (No. 43) of the academic journal 'Korean History Citizen Lecture', a special feature commemorating the 60th anniversary of the founding of the Republic of Korea, titled 'People who founded the Republic of Korea', he was selected as one of the 32 people who laid the foundation for the founding of the country in the culture, religion, and media sectors.

Lee In Beom (이인범; 李仁範)

Lee In Beom (1914 – 1978) was a musician and was a director of the Korean Opera Company, Professor of Yonsei University College of Music. Was a member of the Yonhui Professional Quartet, he toured the country twice a year, once in the spring and once in the fall. He participated in the Gyeongseong Welfare Chamber Orchestra, a pro- Japanese music group that toured the country at the end of the Japanese colonial period to play music of the times and encourage support for the war. As a result, he was selected in the music category of the list of people to be included in the Dictionary of Pro-Japanese Figures published by the Institute for Research in Collaborationist Activities in 2008.

Choi Seong Du (최성두; 崔聖斗)

No photos of just him like Lee In Beom, Hyun Je Myeong other than being in this group photo exist that I could find, I could only find information on him.

Choi Seong-du was a clarinet and piano player. Born in Seoncheon, North Pyongan Province.  Graduated from Sungjeon College and Yonhee College. He worked with Lee In-beom (이인범), Jang Myeong-ho (장명호), and Cha Hyeong-gi (차형기) under the guidance of Hyun Je-myeong (현제명).

Hwang Jae Gyeong (황재경; 黃材景)

No photos of just him like Lee In Beom, Hyun Je Myeong other than being in this group photo exist that I could find, I could only find information on him. I hope this information is for the write Hwang Jae-gyeong as his name when searching came up with more than one person with the same name.

Hwang Jae-gyeong was a flutists and arranger (popular singer) and was a member of the Yonjeon Music Club during the Japanese colonial period. He performed at a concert hosted by the Christian Youth Association on November 27, 1926, and worked with Cha Hyeong-gi , Choi Seong-du , and Han In-hwan under the guidance of Hyun Je-myeong

Shin Yeong Gyun (신영균)

Couldn’t find any information or photos of just him like Lee In Beom, Hyun Je Myeong other than being in this group photo.

I’m not shore which person in this photo is Shin Yeong-gyun, Choi Seong-du or Hwang Jae-gyeong

I didn’t realise this until I read a few of their wiki pages that some of them were on the list of 708 pro-Japanese collaborators during the Japanese Occupation, I thought that one of the reasons that he was mentioned so much and that he a lot of information was because he was very famous composer and that he worked at the Yonsei University, they are probably one of the reasons why? I feel like (in my opinion) that Yeonhui Professional Orchestra/ Quartet (연희전문사중창단), might not be popular or be mentioned today as the “first” male group is because Hyun Je-myeong, Lee In Beom were pro-Japanese, and that 3 out of 5 of the members having information both in a good or bad way.

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The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 2/? (Rewrite)

Like the experiences of the 60s-80s in Korea (I previously discussed the film Emergency Act 19 (긴급조치 19호) in another post that talks about the censorship.), the Japanese Colonial Rule era saw significant music censorship that impacted Korean culture, especially its musical landscape. Japanese authorities imposed strict measures to suppress Korean national identity and promote Japanese interests, harming both traditional and popular music.

This censorship included regulating song content and performances, banning many Korean songs with nationalistic themes or critiques of the regime, while promoting Japanese music and songs aligned with their cultural goals.

Despite these oppressive measures, some Korean musicians skilfully incorporated traditional elements into their work, preserving their cultural heritage while navigating censorship challenges.

Western Music in Japan

It might seem a bit off in the context of the history of Korean music, but just like today’s K-pop acts, earlier Korean artists drew a lot of inspiration from Western music legends like The Beatles. This influence came about when Western culture started blending into Asia, especially since many Asian countries had been pretty isolated for a long time. If you check out historical Asian dramas or anime, you’ll notice a mix of Western and Asian architectural styles. Plus, if you ever visit or live in places like China, Japan, or Korea, you’ll spot plenty of Western-style buildings that have stood the test of time.

Zhongyang Street from south, Harbin, 1920s (哈尔滨中央大街). Formerly known as Kitayskaya ("Chinese") Street, Zhongyang Street (中央大街) was and still is the busiest street in today's Daoli District. In the distance, Songhua River and the railway bridge. Photo by Moravius on flickr An example of Western architectural style in China, which is still there and looks the same today.

Yonhui College and what it looked like in 1918 which is still used today. This college, which will be discussed later, plays a significant role in the history of Korean music.

In the early 20th century, Japan experienced a notable introduction of Western melodies, particularly during the Meiji era (1868-1912), which was characterized by the country's swift modernization and embrace of Western cultural influences. This period facilitated the creation of numerous songs that incorporated Western musical elements, reflecting a significant shift in Japan's musical landscape.

Prominent Western classical composers such as Ludwig van Beethoven, Wolfgang Amadeus Mozart, Franz Schubert, Edvard Grieg, and Claude Debussy gained popularity in Japan during this time. Their works were disseminated through performances by Western musicians, the efforts of music educators, and the establishment of institutions dedicated to Western music education, thereby enriching Japan's musical repertoire and fostering a deeper appreciation for Western classical music.

How Korean Male Groups evolved over time.

Male groups in Korean music history have undergone significant changes and developments over the years. These groups were typically formed in two distinct ways, with one focusing on vocal harmony and the other placing a strong emphasis on performance.

Prior to the 1970s, the majority of male ensembles (a group of musicians, actors, or dancers who perform together) prioritized harmony in their music. However, a shift occurred in the 1980s, leading to the emergence of groups that placed a greater emphasis on performance and showmanship. This shift was particularly evident in the dance music genre, and these groups can be considered as the precursors to the modern-day 'boy groups' that are prevalent in the industry today.

The evolution of male groups in Korean music history can be traced through various decades, starting from the period before liberation (1910 – 1945), through the 60s, 70s, 80s, and early 90s, and continuing into the mid-90s, 2000s, and up to the 2010s. Each era brought about its own unique changes and developments in the male group landscape, reflecting the evolving tastes and preferences of the audience as well as the broader cultural and societal shifts taking place in Korea. By examining the trajectory of male groups over these different time periods, we can gain a deeper understanding of the factors that have shaped the history of Korean male groups and their significance in the music industry.

Before Liberation - 1900s:

The historical evolution of male musical ensembles in Korea before liberation lacks a definitive "first" group, with both the Yeonhee Professional Orchestra (연희전문사중창단) and the 'Youth Member' (청년회원) frequently cited as early contributors. These ensembles share significant similarities and play crucial roles in the history of male musical groups in Korea, regardless of their status as the inaugural ensemble. The available documentation for the Yeonhee Professional Orchestra is notably more extensive than that for the 'Youth Member,' which is often referenced in academic literature.

The Yeonhee Professional Orchestra is recognized as the first male ensemble in Korea to operate under an official name, predating the 'Youth Member' group. While the 'Youth Member' is thought to have emerged around 1923, there is a lack of substantial evidence, such as photographs or audio recordings, to substantiate its official recognition. Although this group is believed to have performed the <Hakdo Song> (학도가) in 1923, the complexities of its activities during the Japanese colonial period hinder the verification of its existence and influence on the musical scene of that time.

I did a bit more research and think I may have discovered the audio for <Hakdo Song> (학도가), though I could be mistaken. When translating the title from Korean to English, it could result in two different Romanized versions: Hakdog Song (학도가) and Hakdogga (학도가), but they are written the same way in Korean.

This is the video of the supposed song below and also the link to the lyrics to the song i found in the blog - Link

In contrast, the Yeonhee Professional Orchestra boasts more thorough documentation from the 1920s and 1930s. This male ensemble primarily consisted of students from Yeonhee College, which later evolved into Yonsei University.

The formal establishment of the Yeonhee Professional Orchestra as an official entity underscores its importance and acknowledgment within the music industry, distinguishing it from the less substantiated 'Youth Member.' The detailed records associated with the Yeonhee Professional Orchestra facilitate a clearer understanding of its contributions and significance during that historical period.

*Note - Yeonhee College/ University changed names and have had different spellings: Yonhui, Yeonhui, Yonhee and Yonsei.

‘Youth Member’(청년회원)

Given the scarcity of information, I will strive to provide clarity regarding the song they reportedly performed, known as "Hakdo Song" (학도가) from 1923. I will also include links to the sources where I discovered this information, noting that their name has appeared frequently over the years, yet details remain limited.

The initial reference to 'Youth Member' within the historical context of Korean male groups occurs prior to liberation, specifically associated with the 'Yeonhui Professional Quartet.' The connection between these two entities arises from the possibility that 'Youth Member' may represent the earliest formation of a Korean male group. However, the lack of substantial information regarding this particular group limits our understanding, as the available records primarily focus on their musical contributions.

The mention of 'Youth Member' alongside the 'Yeonhui Professional Quartet' highlights a significant yet obscure aspect of Korean musical history. While 'Youth Member' is posited as potentially the first Korean male group, the scarcity of detailed documentation about its activities and influence restricts a comprehensive analysis. Consequently, the historical narrative surrounding these groups remains largely incomplete, with much of the focus directed towards their musical output rather than their broader cultural impact.

Album Photo Parents' Grace Song / Student Song. Official Song (Kwonhakga) Album Front, Collection of Lee Kyung-ho

The phonograph record in question is a Taegeukpyo release by the Nippon Gramophone Company, dating back to approximately 1923, and features three distinct musical pieces: "Parents' Grace Song," (부모의 은덕가) "Hakdoga," (학도가), and "Kwonhakga." (권학가).

This record has sparked discussions regarding the classification of changga (love song) as a form of popular music. Notably, "Hakdoga," the first changga featured on the album, holds significant historical value as it encapsulates the evolution of popular music during the Enlightenment Period, thereby serving as a crucial artifact for understanding the cultural dynamics of that era.

The first song confirmed on a record

Despite the existence of numerous records, the earliest confirmed song on a record is <Hakdoga>, attributed to 'Youth Member,' which is believed to be the first male group in Korea. This song was released by Nippon Gramophone Co., Ltd. (日本コロムビア株式会社) around 1921, catalogued as record number 6217.

The true identity of this album remains unverified. The only known version is a reissue from approximately 1923, which is exceedingly rare, with only one or two copies in existence. The recording features a choir format, and rather than listing a specific artist, it simply credits 'Youth Member.' The initial designation as 'Christian Youth Member' suggests that the performance was by a member of the YMCA rather than a professional vocalist. The introduction of the song invites listeners to "Let's sing a student song," mirroring the format used in Edison Records in the United States.

For some reason, finding the right company proved to be difficult, but I truly hope this is the one, particularly since it was the only option available when the song was released. Information about the company that the song was released by below.

Nippon Columbia Co., Ltd., established on October 1, 1910, in Kawasaki-cho, Kanagawa Prefecture, originally operated as the Japan Gramophone Trading Company, marking the inception of Japan's first online music service. From its founding, it maintained a partnership with the American Columbia Record Company, facilitating the import and export of both music and gramophone technology. The company underwent a transformation through Ichichu Kogyo and was rebranded as Japan Columbia in 1946.

'Student' (학도가) is a Japanese version of 'Railroad Window Song' (철도창가) with only the lyrics changed

The authorship of the lyrics for ‘학도가’ remains uncertain, with some attributing it to Choi Nam-seon (최남선) and others to Kim In-sik (김인식), recognized as the first Western musician. However, these claims lack definitive evidence, and there exists a considerable amount of misinformation regarding the composer. Notably, ‘학도가’ is essentially a reworked version of the Japanese song 'Railroad Window Song' (철도창가), which was released in 1900 during the Meiji era.

The lyrics of ‘학도가’ reflect themes of enlightenment, although there are variations from the contemporary rendition. The version performed by Myeong Guk-hwan (명국환) retains the original lyrics but condenses the content from six verses to four. In contrast, Go Woon-bong's (고운봉) interpretation incorporates Juja’s exhortation to learn (勸學文), derived from ‘Gwonhakga’ (권학가), further illustrating the evolution of the song's message over time.

Kim In-sik/ Kim In Hak (김인식)

Born in Pyongyang in 1885 and passed away in 1963, he is recognized as the inaugural Western music educator in the nation. I'll go more into detail about him in a future post.

Choi Nam-seon (최남선)

Choi Nam-seon was a prominent figure in the Japanese colonial era, recognized for his roles as a writer, journalist, historian, and pro-Japanese anti-nationalist. Born in 1890 and passing away in 1957, he pursued his studies in Japan, subsequently launching magazines and fostering a new cultural movement through his literary contributions. He was instrumental in the creation of a Korean dictionary and authored the "Declaration of Independence" during the March 1st Movement. Additionally, he was involved with the Gyemyeong Club, which focused on the study of Korean culture and history, and he served on the Joseon History Compilation Committee. From 1935 onward, he became increasingly active in pro-Japanese initiatives, promoting Japanese Shinto and supporting student soldiers while advocating the notion that Korea and Japan share a common cultural heritage through his "cultural mobilization theory." I'll go more into detail about him in a future post.

A scholar with an enlightened character

Gwonhakga serves as an enlightenment song that promotes the value of education. Unlike typical phonograph records that feature a single song on each side, this particular album stands out by presenting Gwonhakga alongside Hakdoga on the same side of the record.

The song's lyrics reference Juja's work, (勸學文), emphasizing the fleeting nature of youth and the challenges of learning, with the admonition that "young people are easy to grow old, but learning is difficult, so do not treat time lightly even for a moment." (少年易老學難成一寸光陰不可輕). This serves as a cautionary message to the youth regarding the importance of their studies, and these lines were subsequently echoed in Gounbong's ‘학도가’.

This is the video of the supposed song below and also the link to the lyrics to the song i found in the blog – Link Video - https://youtu.be/RrHfwmd1qU4 The song which has been sung since the Japanese colonial period, also has the same melody as the ‘Student Song’ below.

What the ‘Student Song’ might mean - The 'Student Song' emphasizes the importance of youth and education, urging students to recognize their role in shaping history. It highlights a young boy's proficiency in mathematics and praises the remarkable Ilchon Gwangumdo. The imagery of jade hidden in lush mountains suggests that potential must be refined to reveal its brilliance, while the fallen tree symbolizes the necessity of sacrifice for growth. The song calls upon diligent students to remember their responsibilities, as the dawn moon sets and the bright Dongcheon Joil illuminates their path. Ultimately, it reiterates the significance of youth in the ongoing narrative of history.

‘Parents' Grace Song’ praising the grace of parents

The song titled "Parents' Grace Song" (부모의 은덕가) was initially released by Nippon Gramophone Co., Ltd. in approximately 1921, catalogued as record number 6216. The original recording has not survived, but historical documentation indicates that the title was originally inscribed in Chinese characters as "父母恩德 (Parents' Grace Song)," distinct from its reprinted version labelled as record number K200.

The lyrics of this song bear resemblance to contemporary songs performed on Parents' Day, emphasizing the virtues of parental kindness and the importance of expressing gratitude. Its emotional resonance remains significant today, and the fact that modern Parents' Day songs reference "Parents' Kindness Song" (부모의 은덕가) suggests that this piece has been preserved through oral tradition for many years.

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Gesang School (i.e. kisaeng school), 1904

From Cornell University Library, with the following description: 

Korean kisaengs, or singing girls, dressed up for singing and dancing. Korean kisaeng is special women’s occupation that exists for helping parties enjoyable by singing and dancing. Their social position was among the lowest in the traditional Korean class system. Their daughters also became kisaengs and their sons became slaves. The art of entertaining of the kisaeng is analogous to Japanese geisha. These professional entertainers were highly trained in the arts of poetry, music, dance, and other forms of social or artistic diversion. The picture is somewhat curious. It was taken in front of a modern, western-style brick building, with a very peculiar Korean screen as the backdrop. 

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Korea: Kisaeng entertainer and courtesan, c. 1900

Kisaeng (also spelled gisaeng), sometimes called ginyeo (기녀), refers to female Korean entertainers similar to the Japanese geisha and the ancient Greek hetaerae. Kisaeng were not prostitutes but, rather, artists. Although many casual observers mistook kisaeng as prostitutes in Korea, kisaeng entertained aristocracy or royalty, such as the yangbans and kings, as artists.

First appearing in the Goryeo Dynasty, kisaeng served in the government as entertainers, required to fill a variety of roles. In addition to entertainment, those roles included medical care and needlework. Many worked in the royal court, but they also served throughout the country. They received careful training, frequently achieving accomplished in the fine arts, poetry, and prose, although nobility often ignored their talents due to their inferior social status.

Kisaeng, both historic and fictional, play an important role in Korean conceptions of the traditional culture of the Joseon Dynasty. Some of Korea’s oldest and most popular stories, such as the tale of Chunhyang, feature kisaeng as heroines. Although the names of most real kisaeng have been forgotten, history records a few for outstanding attributes, such as talent or loyalty. Kisaeng Hwang Jin-i represents the most famous.

continue reading…

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The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 1/? (Rewrite)

In May, I began delving into the History of Male and Girl K-pop groups, and I made my first detailed post about Male kpop groups. With the assistance of @anemoiawithatouchofobsession in some of my earlier posts (which I am very grateful for), I have made the decision to revamp the entire "series," so to speak.

I have identified a few aspects in my previous posts that I wish to modify, as well as some additional information that I would like to incorporate.

*Note: Even though I’m rewriting the History of Korean Male Groups, starting the exploration of Korean Male Groups, it's still important to acknowledge potential inaccuracies in my posts. This is primarily due to the challenging task of officially certifying a 'First' in this realm, given the absence of a reliable database and prevalence of misleading promotional assertions. Delving into the early records of Korean Male Groups, there are numerous valuable albums that have been overlooked or remain obscure to this day. Despite the uncharted and turbulent nature of Male Group album history, I am committed to presenting a comprehensive overview spanning from the 1920s to the 2010s. I will try my best to incorporate Korean and Japanese (In Bold) in all my posts if there are any translation errors.

Introduction:

The historical narrative surrounding Korea during the period of Imperial Japanese rule is complex and multifaceted, as it encompasses divergent perspectives from both nations involved.

Japan's interpretation of its actions during World War II continues to provoke strong reactions from its neighbouring countries, particularly Korea, where the memories of oppression and cultural suppression remain vivid.

This article was published in 2015. This article is one of many about how Japan remembers WW2, i won't be going into detail on this topic, i would suggest if anyone is interest to do your own research about this.

This discord highlights the challenges of reconciling historical accounts and the impact of collective memory on contemporary international relations.

This video (one of many) explains how WW2 is taught in Japan. This video was posted in 2020 by Today I Found Out.

While the ongoing tensions related to this historical period are well-documented and warrant further exploration, my primary intention is to direct attention toward the evolution of Korean music from the era of Japanese occupation, which lasted from 1910 to 1945, to the present day. This focus allows for an examination of how music served as a form of resistance and cultural expression during a time of significant adversity. The resilience of Korean musical traditions amidst external pressures provides a rich context for understanding the broader cultural landscape of Korea.

By analysing the trajectory of Korean music through the lens of historical events, one can gain insights into the ways in which artists and musicians navigated the complexities of their identity and heritage during a tumultuous period. The interplay between traditional forms and modern influences has shaped the contemporary music scene in Korea, reflecting both the struggles of the past and the aspirations for the future. This exploration not only enriches our understanding of Korean culture but also underscores the importance of music as a vehicle for social commentary and national identity.

Introduction 2 - Small summary of Korea under Japanese rule (Before Liberation).

From 1910 to 1945, Korea was ruled as part of the Empire of Japan under the name Chōsen (조선;朝鮮), the Japanese reading of Joseon. Japan first took Korea into its sphere of influence during the late 1800s, after being forced into isolationism by the United States in the Perry Expedition.

Japan then modernized under the Meiji Restoration and eventually opened Joseon with the unequal Japan-Korea Treaty of 1876. Japan then made sweeping changes in Korea, including a process of Japanization (The process by which Japanese culture dominates, assimilates, or influences other cultures), which led to the loss of cultural artifacts, demolished historic buildings, and construction of infrastructure and industry. This led to the birth of the Korean independence movement, which acted both politically and militantly within the Japanese Empire.

During World War II, Japan mobilized around 5.4 million Koreans to support its war effort, forcing many to work in poor working conditions. Some Japanese politicians and scholars deny that Koreans were forced labourers, while others claim they were "requisitioned against their will."

After the surrender of Japan, Korea was liberated, but relations between Japan and South Korea have oscillated between warmer and colder periods due to conflicts over the historiography of this era.

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Amergency Act 19 (긴급조치 19호)

It is a satirical 2002 South Korean film about a government act that prohibits popular music and passed in response to a number of musicians being elected to government elsewhere in the world. It is notable for the numerous K-pop stars that make appearances in the film.

Directed by: Kim Tae-gyu

Written by: Kim Sung-dong and Lee Seung-guk

Produced by: Song Chang-yong

Starring: Kim Jang-hoon as himself, Hong Kyung-min as himself, Gong Hyo-jin as Min-ji, Noh Joo-hyun as the Chief Secretary and Min-ji's father and Ju Yeong-hun as himself

List of Cameos:

Besides the main cast, there are a number of actors and K-pop singers and groups who make cameos in the film as themselves.

They are: Kim Sung-oh as soldier 2 at Vinyl House, Baby V.O.X., Brown Eyes, CAN, Chakra, Click-B, Fin.K.L, Harisu, Kangta, Koyote, NRG, Shinhwa, UN, and Psy

Plot:

Troubled by the growing worldwide trend of pop singers being elected as politicians, the President of South Korea orders his Chief Secretary to invoke "Emergency Act 19". This new law criminalizes all pop singers, and the army is deployed on the streets of Seoul to round them up. One pop star, Hong Kyung-min, is arrested while performing a concert, but his angry fans mob the soldiers as they try to take him away. The Chief Secretary's teenage daughter, Min-ji, is amongst the fans, and leading her idol to safety gives him her phone number. Kyung-min finally makes a getaway with his friend and fellow pop star, Kim Jang-hoon.

Once Jang-hoon and Kyung-min become fully aware of the situation, they contact Min-ji, who is able to hide the two singers in a secret location. The Chief Secretary finds out that his daughter is working against him, and when she refuses to give them up, he has false news reports created, accusing the singers of sexually assaulting minors. Meanwhile, more pop stars are rounded up by the authorities who are now aided by another singer, Ju Yeong-hun, who decides to betray his friends in order to save himself.

Angered by their tarnished reputations, Jang-hoon and Kyung-min acquire a gun from a shady weapons dealer, and with Min-ji's help they are able to take the Chief Secretary and his staff hostage. They take their captives to the park, where Min-ji has organized a mass demonstration with her friends and other music fans. The army arrive on the scene and engage the demonstrators in conflict, finally capturing Jang-hoon and Kyung-min. The Chief Secretary is able to walk free in all the chaos, but he is appalled by the violence and orders the fighting to stop, convincing the President to repeal the emergency act and restoring peace.

I couldn't find this movie with subs anywhere I usually watch kdramas but found it on YouTube in 2 parts without eng subs.

If anyone knows where I could watch this movie fully with eng subs would be very helpful.

(Part 1 above and Part 2 below)

This movie is based on events that happened in South Korea during the 1970s and 1980s with censorship during the Park Chung Hee Presidency (1961-1979) and Chun Doo Hwan Presidency (1980-1988).

This blog explains a bit about how Seotaji combatted censorship after the 1980s.

More about the censorship during the 1980s in South Korea.

This blog is about the evolution of Korean music in the 70s to the 80s with censorship

The wiki about the Amergency Act 19 (긴급조치 19호) movie.

Should probably go into more detail about this topic, but it gets very long and can be very confusing, and I would rather explain this in my Korean music history on male and female groups.

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Important Announcement

Since i started the history of Male and Girl K-pop groups back in May with my first post about it in detail on Male kpop groups.

With some help from @anemoiawithatouchofobsession in some of my previous posts (which is much appreciated), i decided to rewrite the whole of the "series" i would say, as i have noticed a few things in my posts that i want to change and some information that i want to add.

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Photo collection of kisaeng's - Part 6 - Finale

All photos below have been AI enhanced for a more clear viewing (there may be some errors in the pictures), i will be listing there names in both English and Korean below the photos.

There names go from top left to bottom right.

On the list of photos, this picture is shown twice with some name changes, so i will add both versions. Korean - 기생명부-곽향란, 최선홍, 전용옥, 전금옥, 선간일익, 전명자, 고명선, 백운학 Korean version 2 - 기생명부-곽춘란, 최유홍, 전용옥, 전금옥, 선간일익, 전명월, 고명선, 백운학 English - Parasite List - Kwak Hyang-ran, Choi Seon-hong, Jeon Yong-ok, Jeon Geum-ok, Seon Gan-il-ik, Jeon Myeong-ja, Go Myeong-seon, Baek Woon-hak. English version 2 - Parasite List - Kwak Chun-ran, Choi Yu-hong, Jeon Yong-ok, Jeon Geum-ok, Seon Gan-il-ik, Jeon Myeong-wol, Go Myeong-seon, Baek Woon-hak.

Korean - 기생명부-최중유월, 이춘홍, 황금주, 이금선, 한경옥, 장명실, 장명화, 최영선 English - Parasite List - Choi Joong-yu-wol, Lee Chun-hong, Hwang Geum-ju, Lee Geum-seon, Han Kyung-ok, Jang Myeong-sil, Jang Myeong-hwa, Choi Yeong-seon

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Photo collection of kisaeng's - Part 5

All photos below have been AI enhanced for a more clear viewing (there may be some errors in the pictures), i will be listing there names in both English and Korean below the photos.

There names go from top left to bottom right.

English - Gisaeng List - Hong Do-hwa, unknown, Jeong Geum-hwa, Jeong Yu-wol, Jo Jin-sil, Jo Ranpa, Cha Jun-pi, Cha Jeong-sook Korean - 기생명부 - 홍도화, 미상, 정금화, 정유월, 조진실, 조란파, 차준피, 차정숙

English - Gisaeng List - Gyu Ran-ok, Lim Yang-chun, Jang Yeon-hong, Baek Dal-hong, Shim Yu-wol, Oh Byeok-ok, Jin Yeon-hwa, Seok Sun-bok Korean - 기생명부 - 규란옥, 임양춘, 장연홍, 백달홍, 심유월, 오벽옥, 진연화, 석순복

English - Gisaeng List - Yoo Geum-ja, Noh Jin-ju, Noh Juksim, Noh Eun-hong, Jeon Myeong-ok, Wi Geum-ok, Wang Su-bok, Jo Jeom-hwa Korean - 기생명부 - 유금자, 노진주, 노죽심, 노은홍, 전명옥, 위금옥, 왕수복, 조금화

English - Gisaeng List - Hwang Geum-hwa, Lee Chun-sim, Moon Chae-woon, Ma Hyang-ran, Jeon Yong-ju, Byeon Il-seon, Byeon Ok-jo, Sogan 1st floor Korean - 기생명부 - 황금화, 이춘심, 문채운, 마향란, 전용주, 변일선, 변옥조, 소간일층

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Photo collection of kisaeng's - Part 4

All photos below have been AI enhanced for a more clear viewing (there may be some errors in the pictures), i will be listing there names in both English and Korean below the photos.

There names go from top left to bottom right.

English - Gisaeng List - Yoon Hae-hong, Park Chae-ju, Park Geum-seon, Park Gyu-wol, Yoon Oh-seon, Un Ok-jin, Yoon Wol-seon, Yoon Dan-sim Korean - 기생명부 - 윤해홍,박채주, 박금선, 박규월, 윤오선, 운옥진, 윤월선, 윤단심

English - Gisaeng List - Jang Gyeong-woo, Jang Soo-bok, Jang Mi-hwa, Jang Bok-sin, Go Yeong-wol, Go Gyu-ok, Go Seon-ok, Jang Myeong-ju Korean - 기생명부 - 장경우, 장수복, 장미화, 장복신, 고영월, 고규옥, 고선옥, 장명주

English - Gisaeng List - Song Ok-yeon, Song Hwa-chun, Go Myeong-seon, Go Yeon-seon, Yang Yu-chun, Yang Yu-seon, Yang Yu-wol, Song Myeong-jeong Korean - 기생명부 - 송옥연, 송화춘, 고명선, 고연선, 양유춘, 양유선, 양유월, 송명정

English - Gisaeng List - Song Geum-jo, Song Myeong-ok, Kang Chu-wol, Kang Hye-hwa, Seo Hye-sun, Seo Yu-wol, Woo Cheon-il, Woo Chae-woon Korean - 기생명부 - 송금조, 송명옥, 강추월, 강혜화, 서혜선, 서유월, 우천일, 우채운

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Photo collection of kisaeng's - Part 3

All photos below have been AI enhanced for a more clear viewing (there may be some errors in the pictures), i will be listing there names in both English and Korean below the photos.

There names go from top left to bottom right.

English - Kisaeng List - Lee Hyang-chun, Lee Soon-deok, Lee Young-sim, Lee Yeon-hong, Lee Chae-wol, Lee Iran-do, Lee Do-hwa, Lee Oh-ok Korean - 기생명부 - 이향춘, 이순덕, 이영심, 이연홍, 이채월, 이란도, 이도화, 이오옥

English - Kisaeng List - Han Jin-hong, Han Jin-oh, Han Byeok-jo, Han Pum-ok, Han Jeong-suk, Han Chun-hong, Han So-jo, Han Yeon-seon

Korean - 기생명부 - 한진홍, 한진오, 한벽조, 한품옥, 한정숙,한춘홍, 한소조, 한연선

English - Kisaeng List - Choi Chun-hwa, Choi Myeong-sim, Choi Geum-seon, Choi Ran-ju, Choi Woon-seon, Choi Hye-seok, Choi Seon-ok, Choi Gyeong-jeong

Korean - 기생명부 - 최춘화, 최명심, 최금선, 최란주, 최운선, 최혜석, 최선옥, 최경층

English - Kisaeng List - Park Myeong-ok, Park Ok-seon, Choi Yu-hong, Choi Chun-hong, Park Yu-hong, Park Il-ki-hong, Park Chun-hong, Park Yeon-hee

Korean - 기생명부 - 박명옥, 박옥선, 최유홍, 최춘홍, 박유홍, 박일기홍, 박춘홍, 박연희

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Photo collection of kisaeng's - Part 2

All photos below have been AI enhanced for a more clear viewing (there may be some errors in the pictures), i will be listing there names in both English and Korean below the photos.

There names go from top left to bottom right.

English - Kisaeng List - Kim Jin-sook, Kim Ok-sim, Kim Geum-seon, Kim Su-wol, Kim Nam-hong, Kim Gyeong-ju, Kim Ik-hong, Kim Chun-jo Korean - 기생명부 - 김진숙, 김옥심, 김금선, 김수월, 김남홍, 김경주, 김익홍, 김춘조

English - Kisaeng List - Lee Il-gi-hwa, Lee Dong-hwa, Lim Chun-hong, Kim Chun-hwa, Lee Wol-seon, Lee Hwa-seon, Lee So-hee, Lee Geum-hwa Korean - 기생명부 - 이일기화, 이동화, 임춘홍, 김춘화, 이월선, 이화선, 이소희, 이금화

English - Kisaeng List - Kim Wol-hyang, Lee Hyang-sim, Lee Song-wol, Lee Chae-seon, Lee Sook-deok, Lee Iran-su, Lee Seon-bok, Lee Iran-hyang Korean - 기생명부 - 김월향, 이향심, 이송월, 이채선, 이숙덕, 이란수, 이선복, 이란향

English - Kisaeng List - Lee Ok-ran, Lee Yong-ju, Lee Dan-gyu, Lee Jeong-suk, Lee Dam-hong, Lee Hee-sook, Lee Jang-young, Lee Ok-ryeon Korean - 기생명부 - 이옥란, 이용주, 이단규, 이정숙, 이담홍, 이희숙, 이장영, 이옥련

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Photo collection of kisaeng's - Part 1

All photos below have been AI enhanced for a more clear viewing (there may be some errors in the pictures), i will be listing there names in both English and Korean below the photos.

There names go from top left to bottom right.

English - Gisaeng List - Kim Bok-hee, Kim Hwa-jung-seon, Kim Chae-wol, Kim So-hong, Kim Unjo, Kim Wol-pa, Kim Hong-ryeon, Kim Myeong-hwa Korean - 기생명부 - 김복희, 김화중선, 김채월, 김소홍, 김운조, 김월파, 김홍련, 김명화

English - Gisaeng List - Kim Nan-ok, Kim Ho-shin, Kim Ho-jo, Kim Byeok-jo, Kim Geum-bong, Kim Jeong-ok, Kim Wol-hong, Kim In-ok Korean - 기생명부 - 김난옥, 김호신, 김호조, 김벽조, 김금봉, 김정옥, 김월홍, 김인옥

English - Gisaeng List - Kim Chae-un, Kim Chun-taek, Kim Myeong-ja, Kim Geum-hee, Kim Ran, Kim Yeon-hyang, Kim Ok-jin, Kim Ok-hye Korean - 기생명부 - 김채운, 김춘택, 김명자, 김금희, 김란, 김연향, 김옥진, 김옥혜

English - Gisaeng List - Kim Gan-seon, Kim Wol-seon, Kim Seon-nyeo, Kim Eun-deok, Kim Mun-sook, Kim Young-wol, Kim Ok-seon, Kim Yeon-wol Korean - 기생명부 - 김간선, 김월선, 김선녀, 김은덕, 김문숙, 김영월, 김옥선, 김연월

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Women considered to be the most beautiful in Korean History - Part 3

As mentioned in my last post while i was delving into the research on Jang Yeon Hong, I stumbled upon two kisaengs who shared the exact same name, with one of them having more information available than the other (probably due to the same name). To avoid any confusion, I will refer to them as Jang Yeon Hong (1) and Jang Yeon Hong (2) throughout my findings.

Jang Yeon Hong (장연홍;張蓮紅) (2)

There little to no information on this Jang Yeon Hong reason unknown (probably due to the same name and era in which this photo was taken of her and lived in).

Black and White picture of Jang Yeon Hong (2) and AI enhanced of the same picture. Date of picture taken unknown.

Almost full colourised picture of Jang Yeon Hong (2).

A page from the Photo collection of kisaeng's. Either Jang Yeon Hong (1) or Jang Yeon Hong (2) name appeared on this page of the collection (3rd from the top right) with many other kisaeng's. (The names below go from top left to bottom right) The other kisaeng's that are in this photo along side Jang Yeon Hong are - Gyu Ran-ok, Lim Yang-chun, Jang Yeon-hong, Baek Dalhong, Shim Yu-wol, Oh Byeok-ok, Jin Yeon-hwa, Seok Sun-bok.