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The Lost 30 Years - Seol Woon-do/ Jin Bo-ra/ Na Hoon-a, etc. (잃어버린 30년 - 설운도/ 진보라/ 나훈아 등) - Episode 11/35 (Pt. 2)

This text serves as part two of the Korean album 'The Lost 30 Years,' featuring artists such as Seol Woon-do, Jin Bo-ra, and Na Hoon-a. The focus will be on the events surrounding the broadcast that took place in 1983, which inspired the creation of this album. For a comprehensive understanding, please refer to part one, which details the album's context, the broadcast's background, program planning, and content. The live broadcast commenced on June 30, 1983, followed by an emergency broadcast relay from July 1 to July 10, 1983, and continued with regular programming from July 15, 1983, to November 14, 1983.

It is important to issue a warning prior to engaging with this episode, as it will address the subject of self-exit.

The stories of the performers

Numerous emotional moments characterized the live broadcast, leading to various incidents, including instances where cast members fainted and announcers struggled to contain their tears. Some cast members sought one another using their Japanese names, reflecting their experiences of having lived in Japan before returning after liberation. Additionally, there were episodes highlighting the challenges faced by many children who returned to Joseon without any proficiency in Korean, making their adjustment particularly difficult.

The siblings who shouted “Manse”

The broadcast on July 3 presents the narrative of Mr. Kwak Man-young (곽만영), highlighting the poignant reunion of his family. Originally residing in Sinmak-eup, Seoheung-gun, Hwanghae-do, the family faced significant upheaval around 1947-1948 when the communist regime seized their property. The eldest sister, Kwak Tam-sil (곽담실), was the first to defect to South Korea, settling in Yongsan-gu. Following the onset of the Korean War, the entire family fled to South Korea. During the January 4th Retreat, they crossed the Han River Bridge and boarded a train at Yeongdeungpo Station. However, due to the destruction of the Han River Bridge shortly after the war began, train services were limited to areas south of the river, leading to a prolonged separation with no communication thereafter. The family's later narrative reveals that two siblings had unfortunately passed away prior to the reunion.

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The reunion scene is frequently highlighted as a poignant symbol in discussions surrounding the program "Finding Separated Families." During this emotional moment, the younger brother, Kwak Man-young, expressed his joy with tears, exclaiming, "Mom and Dad are both alive! Thank you, long live KBS!" This phrase, while not the official title of the Korean Broadcasting System, reflects the public's affection for the network, as he also proclaimed, "Long live the Republic of Korea!" This heartfelt declaration was prominently featured in the following morning's broadcast. The scene encapsulated the essence of 1983, illustrating themes of familial bonds, the joy of reunion, the revelation of parental survival, the oppressive nature of the North Korean regime, and a celebration of the Republic of Korea, which was often leveraged for propaganda during the Fifth Republic. Following the end of the dictatorship in 1987, the interpretation of this scene shifted significantly.

2013, Mr. Kwak Man-young revisited this poignant memory during a broadcast commemorating the 30th anniversary of "Finding Separated Families," alongside Dr. Yoo Cheol-jong (유철종) and announcer Lee Ji-yeon (이지연), reflecting on that pivotal moment in his life. At the age of 79, he shared his memories, although, in contrast to the Heo siblings, he had made fewer appearances in KBS's retrospective broadcasts. This limited visibility highlights the varying degrees of public engagement among individuals involved in the program, as well as the evolving narrative surrounding the reunions over the decades.

"You're not Kim! You're Heo!"

"When I was little, I left you at the barber shop." / "Yes, that's right." "It's cloudy." / "That's right." "(Crying) Oppa!!!!! Now I have no regrets even if I die, Oppa!!! " In the middle, you can hear your brother Heo Hyeon-cheol shouting “Thank you!!!”, but it is buried and hard to hear.

The phrase 'Finding Separated Families' evokes the poignant reunion of siblings Heo Hyeon-cheol (허현철) and Heo Hyeon-ok (허현옥) (Kim Jeong-ae) that took place at approximately 11 AM on July 5th. This moment is characterized by the confirmation of local station connections and includes both interview segments and the direct reunion itself. Notably, this broadcast was also featured in the film Ode to My Father. In this emotional encounter, the younger sister immediately recognized her brother upon seeing him, even before they exchanged details about their lives. Her instinctive reaction was to softly exclaim, "It's you, brother!", highlighting the deep familial bond that transcends time and separation.

The Heo siblings, orphaned by the war, faced a tragic separation after being placed in an orphanage. The younger sister, Heo Hyeon-ok, was adopted by a family operating a barbershop, where she assumed the name 'Kim Jeong-ae' (김정애). In contrast, her older brother, Heo Hyeon-cheol, remained in the orphanage. Their paths diverged when Heo Hyeon-cheol sought out the barbershop, only to discover it had relocated, leading to decades of lost contact. Over time, Heo Hyeon-ok forgot her original name, living in a state of disconnection from her past, while Heo Hyeon-cheol, despite his own struggles, retained memories of Daejeon and wandered its streets in search of his sister.

The emotional turmoil of Heo Hyeon-cheol was poignantly captured when he lamented, "You're not Kim, you're Heo! You have to know your name!" His concern transcended mere genealogical interest; it stemmed from a lifelong quest to locate his sister, hindered by her name change. This situation reflects a broader issue faced by families separated by war, as exemplified by Kim Bok-yeon (김복연) and Jeon Hak-cheol (전학철), who were unable to reunite due to their son's name being altered to 'Maeng Cheol-su' (맹철수). This name change could have resulted from a mix-up during his early separation from his mother or administrative errors in the chaos of war. Ultimately, the siblings' reunion occurred in 1993, a decade after their initial separation.

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The poignant declaration, "Everyone should know how miserable war is!" continues to resonate in broadcasts aimed at reuniting separated families, with the image of an elderly man weeping remaining particularly impactful. This emotional moment underscores the enduring consequences of conflict on familial bonds.

The reunion was facilitated through a connection between local stations in Jeju and Daejeon. On the inaugural day of the broadcast, Mr. Heo Hyeon-cheol rushed to the local station upon seeing Ms. Kim Jeong-ae (Heo Hyeon-ok) featured on screen. The initial connection to Jeju Broadcasting and the subsequent introduction of Heo Hyeon-ok's narrative occurred the following day. Although the local station managed to reconnect after four days for a brief reunion, time limitations restricted the sharing of stories, leading to a poignant moment when the microphone was passed to Jeju guests. Unfortunately, the introduction of their stories was interrupted at KBS Seoul headquarters, necessitating another connection between Jeju and Daejeon for the two to meet. During the live broadcast, the producer incorporated war footage and somber background music, evoking a powerful emotional response. Lee Ji-yeon, the host and a member of a separated family herself, was unable to contain her emotions and left the stage in tears, creating a lasting memory that symbolizes the deep connections between relatives.

The siblings recounted that the younger brother, residing on Jeju Island, took a flight the following day, arriving at Gimpo Airport in Seoul before taking a taxi to Daejeon. Although there was an airfield named Cheongju near Daejeon, it functioned as a military base at that time and was not officially designated as Cheongju International Airport until 1997. At 5:40 PM, KBS Daejeon Broadcasting Station, then known simply as 'Daejeon Broadcasting Station,' was elevated to KBS Daejeon Broadcasting Station on December 8, 1986, following a reorganization within KBS. The headquarters was initially situated in Mok-dong, Jung-gu, before relocating to Manyeon-dong, Seo-gu, in 1998, where Dunsan New Town is located. In the 2020 special documentary 'We Together, That Memories,' Mr. Heo Hyeon-cheol reminisced about the old headquarters, which has since been converted into a nursing hospital, although the transmission tower remains. The emotional reunion occurred in front of the building, where, amidst the citizens' applause, the older brother opened the door before the younger brother's car had fully stopped, leading to an embrace filled with tears. The older brother reportedly wept, exclaiming, "What is this? Who should I tell this good news to? I have to tell my parents!" which deeply moved those present.

The Heo siblings enjoyed a fulfilling life and regularly featured on KBS's program "Searching for Separated Families." In May 2013, they participated in a special broadcast celebrating the 30th anniversary of the show, alongside Dr. Yoo Cheol-jong and announcer Lee Ji-yeon, reflecting on their experiences. Notably, the recording studio for this episode was the same public hall that hosted the original broadcast three decades prior.

As of 2019, Heo Hyeon-cheol, the elder brother, was employed at a funeral home in Daejeon Metropolitan City, while his younger sister, Heo Hyeon-ok, was reported to be residing in Jeju Island. On March 2, 2023, Heo Hyeon-ok appeared on the 9340th episode of KBS 1TV's Morning Yard, which marked the 40th anniversary of "Searching for Separated Families" as part of the 50th anniversary celebration of public broadcasting in Korea. During the broadcast, she shared a poignant dream about her brother, in which he appeared in a trench coat and identified himself, prompting her to join the program.

The son who performed the ancestral rite for his mountain mother

"You are my son.""Mother, how are you alive? I was serving you food."

Among the various reunion episodes of 'Searching for Separated Families', the encounter between grandmother Kang Hak-gi (강학기) and her son Oh Soon-ho (오순호) stands out as the most poignant. This family was torn apart during their escape from the communist forces in Cheorwon amid the Korean War. In a desperate attempt to evade bombings, they, along with others, sought refuge in a bunker. However, during a chaotic evacuation led by the US military, the mother and son were separated, with Oh Soon-ho eventually relocating to Busan, where he built a new life, unaware of his mother's fate for three decades.

The reunion was facilitated by a collaboration between Seoul KBS and Busan, culminating in a touching moment where Kang Hak-gi, despite her advanced age, inquired about her son's name and the names of his siblings. This scene is particularly striking, as it highlights her determination to reconnect with her family. Oh Soon-ho, recalling the distinct features of his younger sister, who was also present in the studio, sought confirmation of their shared past. The emotional climax occurred when the grandmother, recognizing her son after so many years, exclaimed, "You are our son," leading to an outpouring of tears from both her and her daughter, Jeom-soon (점순).

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Oh Soon-ho struggled to contain his emotions, attempting to maintain composure in the face of overwhelming relief and joy. The intensity of the moment caused him to lean on a nearby companion for support as his breathing quickened. His wife, who accompanied him, was equally affected, unable to suppress her tears as they shared in this profound reunion. The scene encapsulates the deep emotional bonds of family and the enduring impact of separation, illustrating the powerful human capacity for love and connection even after years of uncertainty.

In a poignant reunion, an unusual incident unfolded. The son’s family believed that his mother had died during that period. This event occurred three decades post-war, a time when the healthcare system and public services for the elderly were significantly lacking, if not at their lowest point. Reflecting on this, it is remarkable that Grandma Kang Hak-gi, who appeared on television, managed to recover. Even when compared to the elderly of the 21st century, her dental health was notably poor. He mentioned that he was unaware of the ancestral rites day, leading him to prepare the ceremonial meal for his mother during New Year's Day or Chuseok. When his son and daughter-in-law, meeting for the first time on screen, expressed their grievances, he humorously remarked, "You prepared my food? That must be why I lived so long." In Confucian belief, there exists a superstition that conducting a memorial service for a living person can extend their life.

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The video opens with announcer Hwang In-yong (황인용) and talent Kang Bu-ja (강부자) as special guests. Both were previously featured on the television program 'Studio 830' and 'Morning Yard.' The initiative to reunite separated families originated from Studio 830, where Hwang was hosting a radio show titled "Hello, I'm Hwang In-yong and Kang Bu-ja" on KBS. As a weekend program, the regular cast members were on break, allowing these two radio hosts to step in as substitutes. At that time, the radio was simultaneously airing the separated families program on television, resulting in a temporary hiatus for the television segment.

The grandmother's presence infuses warmth into this otherwise sombre reunion narrative. Her light-heartedness and ability to engage with the audience, even amidst the emotional backdrop, foster a sense of connection and relief. The interplay of humour and sentimentality not only highlights the resilience of familial bonds but also underscores the cultural significance of ancestral rites in shaping perceptions of life and longevity. This blend of emotion and levity serves to enrich the storytelling, making the reunion both memorable and impactful.

"Don't worry about living"

Younger brother : Don't worry, brother. I'm doing well. I'm doing well. I'm doing very well on my own without asking anyone for help. Don't worry about it. Older brother : Don't worry about living. Anyway, since we met, we shouldn't break up. Right? Right?

Mr. Im Geum-hae (임금해), known as Kim Gwang-ok (김광옥) at the time, and his elder brother Im Sin-hyo (이민효), residing in Busan, visited the Seoul Broadcasting Station on August 27. The YouTube video inaccurately refers to Im Sin-hyo as Im Sin-woo (임신우). During their meeting, the younger brother, having seen his elder sibling's broadcast in which he sought him out, contacted the station. The striking resemblance between the brothers became evident when the satellite connection displayed the younger brother's face, prompting the elder brother to exclaim, "Oh, right, they look alike," which captivated the audience.

During the war, the younger brother was initially adopted by a deputy chief in Yeongdeungpo but was placed in an orphanage within a year, leading a solitary life until their reunion. He bore a scar on his left side from a burn prior to his adoption, which facilitated their immediate recognition of one another. Just before their meeting, he learned from his adoptive mother that 'Kim Gwang-ok' (김광옥) was the name she had given him, while his true name was 'Im Dol-i.' (임돌이) This prior knowledge of his identity significantly aided him in reconnecting with his elder brother.

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Following the adoption of his younger brother, my sibling was separated from their biological mother and expressed a desire to locate her during a broadcast. My father, who had been traveling between Japan and Korea prior to the war, lost all contact after its conclusion, leaving us unaware of his whereabouts. My brother speculated that our father may have permanently settled in Japan, a country that has seen a considerable influx of Koreans due to the intense political strife and violence that ensued after liberation. Notably, the Jeju 4.3 Incident, which resulted in the deaths of tens of thousands, prompted many Koreans to emigrate to Japan, leading to the establishment of a distinct community for those from Jeju.

The reunion was marked by numerous poignant remarks, including my brother's heart-wrenching statement, "I've been alone in the world all my life, this is how I've lived." This sentiment deeply affected even our typically composed older brother, who could not contain his tears upon witnessing his younger sibling's distress, particularly during their heartfelt exchange. My younger brother, a self-made entrepreneur based in Incheon, is married with children. His wife and son made an appearance on the broadcast, greeting our older brother, which led to the aforementioned conversation. When he revealed that his son's name was Dae-hyeon, announcer Lee Ji-yeon offered her congratulations, noting, "You've been living as Kim Dae-hyeon (김대현) until now, but now you're changing your name to Im Dae-hyeon (임대현)." The emotional atmosphere was further heightened by the playing of the song "Bloodlines We Met Again."

In 2021, the younger brother recounted his story on television, revealing previously undisclosed information, including a reunion certificate issued by KBS at that time, intended for the correction of the family register. Despite a close bond lasting three decades, the older brother's death in 2012 marked a tragic turn. The broadcast suggests that the younger brother continues to use the name Kim Gwang-ok. Notably, even with KBS's issuance of a correction certificate, changing one's name entails altering not only personal but also children's surnames, alongside the necessity to inform business associates and others about the name change, complicating the process significantly. Although advancements in technology have streamlined these procedures, the past presented considerable challenges, leading many to retain their known names throughout their lives. Consequently, individuals from the middle-aged demographic and older often possess discrepancies between their official family register names and the names they are commonly addressed by, resulting in a tendency to accept the knowledge of their original names without pursuing formal changes.

Other Miscellaneous Matters

On the afternoon broadcast of July 2, a poignant scene unfolded in the studio when a family reunion led to an emotional collapse. The daughter, who had endured the loss of her parents during an evacuation and had subsequently lived a challenging life as a housekeeper, was now middle-aged and overwhelmed with grief upon reuniting with her family. She cried out, "Why did you abandon me?" This emotional turmoil caused her mother, in her seventies, to faint from shock. Fortunately, she was quickly taken to the emergency room and recovered.

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During this distressing moment, announcer Kim Dong-gun (김동건) took charge, urging those present to remain still and called for assistance from the infirmary. He emphasized the importance of not moving someone who has fainted without proper guidance. The live broadcast captured the raw emotions of the moment, with tears flowing as the audience witnessed the family's heartbreak, prompting a collective response of sorrow across the nation.

The following day, the broadcast continued to address the incident, with announcers attempting to soothe the guests by highlighting the mother's high blood pressure and urging calmness. This event was later documented in the April 22, 1995, edition of the Saturday Newspaper, which featured an article titled, "Who Doesn't Know This Person?": Sobbing… Heartbreak… A 'Human Drama' Without Direction. Additionally, it was revisited in a special Modern Korea broadcast on September 3, 2020, where Kim Dong-gun reflected on the emotional weight of separation, drawing from his own experiences as a displaced person from Hwanghae-do.

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On the October 1 broadcast, Lee Kang-hoon (이강훈), a resident of Busan, travelled to Yeouido with his wife and their six-year-old son to celebrate his mother-in-law's birthday. He expressed that financial constraints had initially prevented them from attending. A fortunate incident occurred when the son unexpectedly encountered his brother at Yeouido Plaza after spotting a piece of paper bearing their father's name. At that time, it was common for six-year-olds to struggle with reading Korean. This situation raised questions about whether the children's upbringing or their inherent intelligence contributed to their respectful behaviour. The child's father took pride in sharing this story throughout the broadcast.

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The Park sisters experienced separation following their father's venture into business, leading to their placement in different adoptive homes due to post-war financial struggles. One of the sisters was reportedly adopted by the poet Noh Cheon-myeong (노천명), yet her experience was marred by hardship, as she was compelled to serve as a maid despite the arrangement being labelled as adoption. I encountered these sisters during the broadcast on July 9.

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Numerous families encountered by one of the broadcasters during registration were found in the public hall or Yeouido Plaza. While not all were required to appear on the broadcast, some received invitations to the public hall. One guest recounted an incident where they noticed someone removing posters, prompting them to inquire about the action, only to discover a placard bearing the same name as theirs, leading to a reunion with their aunt. Another guest shared a story of an older brother who posted a notice seeking his younger sibling; shortly thereafter, the younger sibling attempted to post a similar notice below it and was overwhelmed to find a paper with his name, resulting in their reunion. Additionally, some siblings, seated next to each other during the story's introduction, recognized the striking similarities in their placards, which ultimately facilitated their reunion after verification.

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Many individuals were separated from their families at a young age, often retaining only fragmented memories, such as names or even lacking recollection of their own identities. Those fortunate enough to remember specific details, like a prominent tree in their village or the location of a relative's home, found solace in these memories. Physical traits, including scars and marks from wartime experiences, served as additional anchors to their past. Some families recounted poignant moments, such as a sibling recalling an incident involving a rock, while others searched for lost loved ones by identifying unique physical characteristics, like a scar on a child's head.

In various instances, individuals recognized each other through visual cues, often facilitated by local media. For example, siblings Heo Hyeon-cheol (Heo Hyeon-cheol) and Heo Hyeon-ok (허현옥) experienced an emotional reunion when she immediately identified him upon seeing his face, exclaiming, "It's my brother!" This recognition was heightened by their striking resemblance. However, the passage of time had altered their appearances and memories, leading to complexities in their identities, as exemplified by her belief that she had been "adopted by a barbershop on a cloudy day." Such experiences underscore the profound impact of memory and the changes that accompany aging.

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Numerous instances of family separation occurred following the Korean War, particularly among those who returned to Korea immediately after liberation or defected to South Korea post-38th parallel division. This phenomenon was notably prevalent among families residing in Gyeonggi, Gangwon-do, and parts of Hwanghae-do. Individuals with ancestral ties to regions such as Jilin Province in Manchuria, Sakhalin, Hwatae, or Karafuto may now find these connections unfamiliar. Furthermore, the topic of 'population movement by era,' often overlooked in Korean geography and history textbooks, starkly illustrates the profound tragedies experienced during this period. Notably, individuals who had left behind separated families in China were able to reunite when tourism to China was permitted in 1988.

Among the narratives presented, the National Defence Corps is primarily referred to as the "Second National Soldier." Numerous accounts detail the efforts of individuals seeking those who vanished after conscription. While there were some fortunate reunions, the overwhelming tragedy experienced by the National Defence Forces during that period suggests that many of the drafted soldiers likely perished in the conflict. The National Guard gained infamy for unprecedented military corruption, leading to widespread suffering, starvation, exposure, and disease among soldiers before they could even participate in battle. Notably, there was an instance of an individual who remained unaccounted for despite being confirmed as having the same name on three separate occasions, highlighting the failures in verification processes.

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During a meeting among siblings, Kim Il-sung of North Korea exclaimed, “Inomushikiya!!! Do you know this fact!!!” This provoked a passionate response from Heo Hyeon-cheol, who urged everyone to unite against Kim Il-sung, declaring, "Everyone! Let's all come out together and defeat Kim Il-sung!!" Some attendees even entered the studio brandishing the Taegeukgi. Many individuals present, particularly those in their 30s and older, had directly experienced the war, perceiving Kim Il-sung as a formidable adversary. This sentiment was especially prevalent among those born before the early 1950s. By 1983, even individuals aged 30 had been born during the conflict, and the older generation's animosity was well-established. As of the 2020s, many from this demographic are now in their 70s or older, maintaining a strong hostility towards the North Korean regime and remaining vigilant regarding security matters. This group also exhibits the highest levels of support for conservative parties that advocate a robust anti-North Korean stance, including an actor who, in his later years as a sergeant, sought vengeance against Kim Il-sung.

The release of the film Ode to My Father in 2015, which focused on the theme of separated families, sparked controversy due to a scene featuring an extra walking through Yeouido Plaza while holding both the Taegeukgi and the North Korean flag. At that time, the National Security Act was still in force, meaning that the act of displaying the North Korean flag, as shown in the film, could have led to immediate arrest, and there was a significant risk of violence from displaced individuals. Additionally, the narrative included a grandmother searching for her 14-year-old son, Lee Dae-sik (이대식), who had vanished while delivering newspapers in Seoul following the January 4th Retreat. A broadcast by SBS on March 28, 2015, titled "Child Agents in the North - We Were Bullet Candidates," revealed that he had been chosen as a child agent and sent to North Korea.

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Eyewitnesses have reported sightings of him in a political prison camp, and six decades after he went missing, the state announced that he had died in 1952. Among the cases recalled by Seol Woon-do (설운도), one individual appeared on a broadcast dressed in mourning attire. This guest's mother, a member of a separated family, had been visiting the KBS open hall daily in search of her lost relatives, but she passed away. Despite the mourning period, he chose to be in the studio to fulfil her wishes, hoping that the family she sought might appear.

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Shortly after the broadcast commenced, an elderly man residing in Dongjak-gu, Seoul, tragically took his own life. His son revealed that the man had left behind his wife and three siblings in the North during the January 4th Retreat, defecting to the South alongside his younger brother. Overcome with emotion while watching the broadcast, he exited his home around 5:30 PM on July 2nd, ultimately ending his life in silence.

The narrative surrounding the three siblings is equally poignant. During the Korean War, they were ostracized as Japanese and sought refuge in a cave, which served as an air-raid shelter constructed by the Japanese military using Korean labour towards the end of the Pacific War. Following the devastation of Japanese cities by U.S. strategic bombings, many individuals were left homeless, residing in such shelters. Their parents had passed away, leading the siblings to work as servants, while their younger sister, Heo Shin-ja, battled typhoid fever. After moving to Seoul due to their maternal aunt's neglect, the siblings faced further hardship, culminating in the younger sister's flight from home and subsequent estrangement. Notably, her enduring resentment towards their aunt remains palpable, as evidenced by her vehement outburst towards her brother regarding their aunt's well-being.

The three siblings habitually refer to one another using their Japanese names. The younger sister's official name, "Shin-ja," corresponds to the Korean pronunciation of the Japanese name Nobuko (信子). The second eldest brother is named Isamu (勇), while the eldest brother is called Yoshi (芳). Given that their Korean names are derived from Japanese names articulated in Korean phonetics, it is plausible that the eldest brother's name '芳 (Bang)' is pronounced Yoshi in Japanese. During a broadcast, when asked about his Korean name, he identified himself as "Heo Bang." However, the video does not provide conclusive evidence regarding the nationalities of their parents.

The siblings' maternal uncle held the rank of lieutenant colonel in the South Korean Army, suggesting that their mother was likely Korean and their father Japanese. There have been instances where Japanese individuals visited the studio or sent correspondence in search of their families. These cases primarily involved individuals who had worked in local government or had been dispatched to colonies like Joseon or Manchukuo during the Japanese Empire. Many were separated from their families after becoming hikiagesha following the war's conclusion. Some families, like the Heo Shin-ja siblings, experienced separation due to the complexities of Japanese-Korean identity. After diplomatic relations were established between China and Japan, some hikiagesha families in Manchukuo were able to reunite and obtain Japanese citizenship, but faced racial discrimination upon returning to Japan, leading many to relocate back to China or become involved in organized crime. Others who struggled to find a place faced persecution from the government, as exemplified by the situation at Narita Airport.

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A woman, whose lineage includes parents and grandparents active in the independence movement, discovered her aunt.

In another instance, five siblings separated during the Korean War were successfully reunited via this broadcast.

Additionally, a family that accumulated wealth from their father's labour prior to the Korean War contributed food aid to the national army, while some siblings were labelled as reactionaries by the People's Army due to their capitalist ties and subsequently defected to South Korea. (Link 1 & 2 to two episodes from the broadcast)

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I must admit that after viewing several videos related to this episode, I found myself moved to tears. Given the extensive nature of this broadcast and the wealth of information it contains, a part 3 will be produced for this album and broadcast.

#Youtube #80s #80s music #KBS #The Lost 30 Years - Seol Woon-do/ Jin Bo-ra/ Na Hoon-a ect.#잃어버린 30년 - 설운도/ 진보라/ 나훈아 등 #The Lost 30 Years #잃어버린 30년

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cosmosbeelover · 1 month ago

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The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 7/? (Rewrite)

Following liberation, the Korean popular music landscape in the 1950s faced significant challenges due to the aftermath of war; however, it simultaneously emerged as a period ripe with potential and optimism. The influx of Western music genres, largely facilitated by the presence of the US military in Korea, led to a diversification of musical styles. Performers from the US 8th Army, who entertained troops on designated stages, found opportunities to showcase their talents beyond Korea, reaching audiences in Southeast Asia and the United States, in addition to Japan.

The 1960s are often regarded as the golden era of Korean popular music, characterized by a notable expansion beyond the traditional trot genre to include pop, jazz, rock, and folk music. This diversification not only enriched the musical landscape but also aligned with the national sentiment of rebuilding a war-torn country, infusing the scene with vibrant energy. During this time, male vocal groups, particularly four-member quartets emphasizing harmony, gained prominence, with the Bluebells leading the way. Other notable groups from this era included the Bongbong Quartet, Four Clovers, Mellotone Quartet, and Johnny Brothers, all of which contributed to the evolving musical narrative.

It is important to note that the following information will reference various groups that were active before, during, and after the contests, which may create some confusion regarding the timeline. I will address some of these groups in more detail in my next post, but I wanted to provide this context first, as some of these groups gained or enhanced their fame through these contests. This post will include numerous groups, duos, and solo artists, and since I have translated the information from Korean to English, the names of some groups and duos may appear unusual; therefore, I have included their Korean names alongside them, as I have done in previous and will continue to do in future posts.

The Playboy Cup National Vocal Group Contests:

The discussion of The Playboy Cup National Vocal Group (플레이보이컵 쟁탈 전국 보컬그룹) Contests arises from their resemblance, in my view, to the school and music festivals that thrived from the 1960s to the 1990s, as well as contemporary idol group competitions. These contests hold significance as they have contributed to the emergence of numerous pioneering Korean rock bands that were nurtured through this platform.

Between the late 1960s and early 1970s, Seoul witnessed a surge of vocal group competitions that captivated the youth. Notably, the Playboy Cup Vocal Group Competition served as a pivotal platform for bands associated with the 8th US Army, facilitating their transition to broader performance venues and significantly influencing the development of band music in Korea.

During the 1960s, the vibrant atmosphere of the US 8th Army stage catalyzed a group sound phenomenon within the Korean popular music landscape. As male and female ensembles honed their talents in the clubs of the US 8th Army, they began to transition to more prominent venues, including theatre performances and music appreciation events. The fervent support for various group sound competitions drew large crowds in the Gwanghwamun (��화문) area, particularly at the Seoul Citizens' Hall, which was a renowned venue for these events before its destruction by fire.

Group sound contest advertisements from the 1960s.

The Playboy Cup Vocal Group Competition, a notable event in the late 1960s and early 1970s, served as a crucial platform for bands associated with the 8th Army Club to transition into the mainstream music scene. This competition played a significant role in the development of band music in Korea, fostering a vibrant musical culture during a transformative period.

The participants of the Playboy Cup competition became instrumental in shaping the domestic rock genre, revitalizing a previously stagnant music landscape. Although the event was known by various titles, including the 'Playboy Cup Competition' and 'National Group Sound Competition,' this discussion will refer to it as the 'Playboy Cup National Vocal Group Competition' for clarity. The inclusion of 'Playboy' in the title reflects the involvement of Playboy Productions, led by CEO Lee Soon-woo (��순우), in organizing the event.

The 1st Playboy Cup Vocal Group Contest

The inaugural Playboy Cup Vocal Group Competition took place from May 17 to 20, 1969, at the Seoul Citizens' Hall, featuring 20 male and female vocal ensembles. Organized by Playboy Productions and supported by the weekly publication Sunday Seoul, the event highlighted the challenges faced by vocal groups in establishing themselves within the Korean light music industry. According to Sunday Seoul, these groups struggled due to limited performance venues, primarily restricted to a few large stages and television platforms, while being largely overlooked by local entertainment venues and the recording industry, which are crucial for financial sustainability. Additionally, the economic viability of hiring smaller solo acts over larger vocal groups further exacerbated the difficulties faced by these ensembles.

Press Releases on the First Playboy Cup Vocal Group Contest

The competition, initially perceived as a commercial endeavour, exceeded all expectations and proved to be a remarkable success. The Civic Centre, with a seating capacity of 3,000, was filled to capacity from the outset on May 17, prompting an extension of the event from its original three-day schedule to four days. Given the season's unsuitability for commercial performances and the limited popularity of vocal groups, this outcome was nothing short of extraordinary. Despite the presence of numerous top-tier singers and comedians, the typically vacant Civic Centre experienced such high attendance that ticket scalping incidents occurred, underscoring the event's exceptional nature, as highlighted in the post-event report which emphasized its necessity and triumph.

Left Album - VocalNO.1 Key Boys Special 2nd Album Front. Right Album - He5 Jeongjugo I'm crying / Lee Seungjae's Eyes Album Front.

In the inaugural Playboy Cup Vocal Group Competition, the grand prize was awarded to Key Boys (키보이스), while He5 (히파이브가) received the excellence prize and Guys & Dolls (가이즈앤돌즈) took home the composition prize. Among individual accolades, the singer of the year was recognized as Lee Pil-won (이필원) from Tigers (타이거즈), who subsequently collaborated with Park In-hee (박인희) to form Duae Moa (뚜아에무아), significantly contributing to the era of mixed duets. The performance award was given to Jo Young-jo (조영조) of Key Boys, and the Sunday Seoul family award (선데이서울 가족상은) was shared by Cherry Sisters (체리시스터즈) and Tigers, with the popularity award going to Playboy (플레이보이가).

Left Album - My Love Mina / Hometown of You and Me / When I Met You Album Front. Right Album - Your Heart / White House / Delilah Album Front.

Following the competition, numerous press articles emerged that emphasized the phenomenon of group sound. Notably, Key Boys, the recipients of both the grand prize and the performance award, reissued their pre-competition album featuring the track "Let’s Go to the Beach" (해변으로 가요) to underscore their victory. Although the event was promoted as a commemoration for May 16, it appears that the subsequent activities were conducted independently of this theme.

The 2nd Playboy Cup Vocal Group Contest

The second Playboy Cup Vocal Group Competition took place at the Seoul Citizens' Hall over four days, from July 10 to 13, 1970. Organized by Lee Soon-woo, the CEO of Playboy Production, and directed by Kim Jeong-ho (김정호), this event demonstrated a notable elevation in prestige compared to the previous year. The competition featured prominent artists of the era, including Kim Chu-ja (김추자), Jo Young-nam (조영남), and Park In-soo (박인수), alongside various vocal groups such as Shin Jung-hyun and Questions (신중현과 퀘션스), Pearl Sisters (펄시스터즈), and Angels (엔젤스), which significantly enhanced public engagement and interest.

Advertisement for the 2nd Annual Playboy Cup Vocal Group Contest (1970)

To promote impartial evaluation, a panel of judges was established, consisting of Shin Jung-hyun, Seo Byung-hoo (서병후), Jeong Hong-taek (정홍택), Choi Dong-wook (최동욱), and Lee Jong-hwan (이종환). On the final day, July 13, six out of the twelve teams that advanced from the preliminary round engaged in intense competition. He6 (히식스) was awarded the grand prize, Last Chance (라스트��스) received the excellence prize, Devils (데블스) earned the composition prize, and Young Ace (영에이스는) was granted the encouragement prize.

Left Album - HE6 Vol.1 /Cosmos Series Vol.1 Album front Right Photo - He6 commemorative photo after winning the 2nd Playboy Cup Vocal Group Contest

In the second competition, He6 secured the grand prize due to their vibrant composition and exceptional lighting. The duo of singers Kim Sun and the Jun Sisters, who had previously performed on the third floor of the Cosmos Room in Myeongdong, Seoul, joined He6 on stage, garnering enthusiastic applause from the audience and earning the popularity award, thus becoming dual champions. He6, recognized as the leading rock band of their era, was also invited to the inaugural Cheongpyeong Festival (청평페스티벌) in Cheongpyeong, Gapyeong-gun, Gyeonggi-do, in 1971, where they played a significant role in revitalizing domestic rock music through their passionate performance.

Left Album - White Christmas / Jingle Bells, Last Chance Album Front (Evolution of Christmas Carols) Right Album - 1st Album! Group Sound Devils Front of the album

Last Chance, the recipient of the Excellence Award, garnered attention for his distinctive long-haired look. The Leadership Award was presented to Park Young-geol (박영걸), the manager of Last Chance. Park Young-geol played a pivotal role in discovering the group Devils alongside Last Chance and has also managed notable artists such as Shin Jung-hyun (신중현) and Yeopjeon (엽전). Subsequently, he contributed to the careers of female artists including Lee Eun-ha (이은하), Jung Ae-ri (정애리), Yoon Seung-hee (윤승희), and others, as well as the band Sanulrim (산울림). Renowned for his exceptional management abilities, he established Noman Planning and initiated the Noman Song Festival to identify emerging talent.

2nd Playboy Cup Vocal Group Competition Devils Performance Photos

The individual performance award was presented to Lee Bu-il (이부일), the drummer of Devils, while Yeon Seok-won (연석원) from the same group received the Best Singer Award. The debut album of Devils prominently features the accolades "2nd Playboy Vocal Group Contest Composition Award, Best Singer Award." Additionally, He6's debut album, designed as a gatefold, includes the phrase "2nd National Group Sound Contest Grand Prize," which signifies the top honour from the 2nd Playboy Cup Vocal Group Contest. Notably, Devils' distinctive stage act, which involved dragging a coffin and performing barefoot, was later depicted in the 2008 film "Go Go 70," (고고 70) (Another Source) directed by Choi Ho (최호) and featuring actors Cho Seung-woo (조승우) and Shin Min-a (신민아).

The 3rd Playboy Cup Vocal Group Contest

The third competition took place at the Seoul Citizens' Hall over four days, from July 16 to 19, 1971. An article published in the Kyunghyang Shinmun (경향신문) on July 12, 1971, reported that the third Playboy Cup Vocal Group Competition, offering a prize of 3 million won, aimed to distinguish itself from earlier events by positioning itself as a pop festival intended to promote uplifting music in accordance with the "New Wind Movement" advocated by the government during that period.

Advertisement for the 3rd Annual Playboy Cup Vocal Group Contest (1971)

The Sanremo Festival, a hallmark of Italian culture, has introduced a new folk song category, significantly broadening its scope to encompass approximately 100 judges from the entertainment sector. Additionally, a new MC category was created to enhance the event's diversity. This folk category, inspired by the rising popularity of acoustic guitar music, featured 13 bands, including Key Boys, He6, Key Brothers (키브라더스), Last Chance, Trippers (트리퍼스), Rush (러시), and Vis (비스), alongside numerous folk artists such as the mixed duet Duae Moa, the male duet Shagrin (쉐그린), and solo performers Seo Yu-seok (서유석), Kim Eun-hee (김은희), Yang Hee-eun (양희은), and Lee Yong-bok (이용복), all of whom actively participated in the competition.

He6 members who won the grand prize at the 3rd Playboy Cup Vocal Group Contest.

Left Album - Key Brothers Special Collection Album Front Right Album - Young Sound Hit Parade Album Front

He6 secured the grand prize for the second year in a row, reinforcing their status in the competition. Last Chance also received the excellence award for the second consecutive year. Furthermore, Woodstock’s (우드스탁스) (Not this Woodstock’s) was honoured with the encouragement award, Rush received the composition award, Key Brothers was recognized with the popularity award, and Young Sound (영사운드) was granted the special award.

Front cover of Lee Yong-bok's latest masterpiece album

The inaugural prize in the newly created folk category was awarded to Lee Yong-bok, a former member of the rock band Cactus (캑터스) during his tenure at the Seoul School for the Blind. His agency, Shinjin Records (신진레코드는), enhanced the visual appeal of his new album by featuring trophies from the competition on its cover, thereby emphasizing his distinction as Korea's first visually impaired singer with remarkable musical talent. The rookie award was presented to Yang Hee-eun (양희은), who was gaining recognition as an idol among the younger demographic. The popularity award was claimed by the male duet Shagreen (쉐그린), while the encouragement award went to the male duet Ebonys (에보니스), and the lyricist award was awarded to the male duet Two Koreans (투코리언스가), led by Kim Do-hyang (김도향).

Playboy Cup Vocal Group Contest Winners' Celebration Performance '72

The fourth competition did not take place in 1972. Instead, a special event titled 'Playboy Cup Vocal Group Competition Winners' Celebration Performance' was organized at Seoul Citizens' Hall, running for four days from January 27 to January 30.

Advertisement for the Playboy Cup Vocal Group Contest Winners' Celebration Performance (1972)

This event, which was sponsored by Haitai Confectionery (해태제과), functioned as a gala rather than a competition, showcasing performances by stars from the previous three Playboy Cup vocal group competitions. The event was orchestrated by Park Young-geol, a recipient of the leadership award for his group, Devils, which had previously won the composition award in the inaugural competition. Featured performers included bands such as Key Boys, He6, Last Chance, Rush, Key Brothers, Devils, Bis, Woodstock’s, and Young Sound, alongside folk musicians like Lee Yong-bok, Eun-hee (은희), Yang Hee-eun, Shagrin, Ebonys, and Two Koreans.

Bees Front cover of the album "The Meadow of Jihoon's Last Date"

Various contests before & after the Playboy Cup contest

Numerous events in the late 1960s and early 1970s showcased vocal groups akin to those in the Playboy Cup Vocal Group Competition. Several significant occasions during this period likely had reciprocal influences with the Playboy Cup, shaping the landscape of vocal group performances.

1966 Show Playboy

A vocal group competition titled "Show Playboy" took place at Seoul Citizens' Hall from June 10 to 12, 1966. An article in the Kyunghyang Shinmun dated June 8, 1966, announced that approximately 20 vocal groups would participate in this inaugural recital, generating significant interest in the event.

The organization of the Playboy event, reminiscent of the Playboy Cup vocal group competition, was overseen by Lee Soon-woo from Playboy Productions. The lineup featured notable performers, including the band Add4, recognized for releasing Korea's first original rock album in 1964, alongside various other groups such as the Jeon Seung-nam sisters (전승남 자매), Dark Eyes (다크아이즈), and the Kimchis (더김치스).

Left Album - "Ed. Huh’s" first album (THE ADD4'FIRST ALBUM) Front of the album Right Album - Front cover of the Garden and Shauders album

Additional performers included Shouters (샤우터스), Babos (바보스), For Guys (포가이스), Elephant Voice (코끼리보이스), Key Boys, Honey Bee Sisters (허니비시스터즈), Kerry Brook (케리부룩), Arirang Sisters (아리랑시스터즈), Venus Sisters (비너스시스터즈), Jeong Sisters (정시스터즈), Mellotone (멜로톤), Trio Kits (트리오킷스), Johnny Brothers (자니브라더스), Bongbong (봉봉), Bluebells (블루벨스), Eunbangul Sisters (은방울자매), and the twin sister’s duo, Gapsoon Eulsoon (갑순을순). This diverse array of talent contributed to the event's appeal and significance in the Korean music scene.

1970 National Vocal Group Sound Contest

The National Vocal Group Sound Contest, which took place from August 16 to 23, 1970, was organized by the Korea Entertainment Troupe Managers Association, rather than Playboy Productions. This event received sponsorship from the Ministry of Culture and the Seoul Shinmun, culminating in the prestigious Minister of Culture and Public Information Award as its grand prize.

Advertisement for the National Vocal Group Sound Contest Civic Centre Performance (1970)

This competition, organized to celebrate the 25th anniversary of liberation, featured participation from various groups including Key Boys, Pink Paints (핑크페인트스), Devils (데블스), The Shouters (더샤우터스), Dark Ices (다크아이스), Trippers (트리퍼스), Five Fingers (파이브핑거스), Riders (라이더스), Choka (쵸카), For Guys (포가이스), The Beasts (더비스), Last Chance (라스트찬스), Aloha (아로하), The Times (더타임스), Top Step (탑스텝), Diens (디엔즈), Kimchis (김치스), and Young Ace (영에이스).

TRIPPERS GO GO album cover

1971 1st Sunday Seoul Cup Vocal Group Contest

In 1970, Sunday Seoul, the organization that sponsored the inaugural Playboy Cup Vocal Group Contest, organized its own vocal group competition known as the Sunday Seoul Cup.

Press release on the 1st Sunday Seoul Cup Vocal Group Contest (1971)

Following five days of preliminary rounds, the seven teams that advanced from the semi-finals faced off in the finals on May 30th. He6 (히식스) secured the Grand Prix, while the Excellence Award was presented to Key Boys (키보이스). The Composition Award went to Young Sound (영사운드), and the Popularity Award was claimed by the American quartet Rush (러시). New Midopas (뉴미도파스) received the Special Award, and the Individual Performance Award was awarded to Kim Hong-tak (김홍탁) from He6 and Lee Kwang-il (이광일) from Key Boys. The Best Singer Award was given to Cho Yong-pil (조용필) of Kim Trio (김트리오), and the Encouragement Award was bestowed upon B.I.S (비스에).

Left Album - Musical "Diary of Love" / Love's Lullaby Album Front Right Album - Drum! Drum! Drum! / Amp Guitar Go Go! Go Go! Go Go! Go Go! Album Front

1972 Weekly Kyunghyang Cup Competition 1st New Star Pop Contest

The inaugural New Star Pop Contest, known as the Weekly Kyunghyang Cup (주간경향컵), took place from August 3 to 6, 1972, at the Seoul Citizens' Hall. This event aimed to "create a new direction in pop music, which represents over fifty percent of the domestic popular music scene, and to promote quality songs for the emerging rock generation." The Grand Prize was awarded to Ham Joong-ah's (함중아) Golden Grapes (골든그레이프스), while the Excellence Award went to LAS, the Popularity Award was given to Jokers (조커스), and the Duo Award was presented to the Candy Sisters (캔디시스터즈가).

Weekly Kyunghyang Cup Competition News Star Pop Contest Article (1972)

An examination of the various award categories reveals the following recipients: the Soul Grand Prize was awarded to LAS, the Popular Music Grand Prize went to Tempest (템페스트), the Female Group Grand Prize was given to Arirang Sisters (아리랑 시스터즈), and Jang Gye-hyeon (장계현) received the Singer Grand Prize. Additionally, LAS was recognized with the Rock Female Singer Grand Prize, Lim Sung-hoon (임성훈) took home the Pop Male Singer Grand Prize, while Jeong Mi-jo (정미조) was honoured with the Pop Female Singer Grand Prize. In the folk category, Lee Seung-jae (이승재) won the Folk Male Singer Grand Prize, Heo Rim (허림) received the Folk Female Singer Grand Prize, and Clover was awarded the Popular Female Group Grand Prize (클로버다).

Left Album - Shin Jung-hyun SOUND VOL.3 Album Front Right Album - Jokers (JOKERS) Front cover of the first hit album

The Playboy Cup Vocal Group Competition concluded with its third round, and subsequent articles or albums do not reference a fourth round. Furthermore, the venue for the event, Seoul Citizens' Hall, experienced a fire on December 2, 1972, following the performances by male and female singers during the MBC 11th anniversary 10th singer awards ceremony.

He6’s Civic Centre Pops Festival Performance (1970)

The Playboy Cup Vocal Group Competition, once a pivotal platform for bands and singers primarily performing on the US 8th Army stage to transition to a broader audience, has faded into obscurity. Nevertheless, numerous bands and musicians that originated from this competition evolved into prominent influencers, significantly reshaping the landscape of domestic rock music during the 1970s and 1980s.

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cosmosbeelover · 3 months ago

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The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 6.5/? (Rewrite)

In Part 6.5 of The History of Korean Male Groups, I will conclude the discussion initiated in Part 6 and begin exploring the Third Republic of Korea, which lasted from 1963 to 1972. This era is marked by significant historical events that continue to influence contemporary discussions and are intricately connected to the contributions of Korean artists from that time. A summary of these events will be provided, along with relevant videos at the end of this post; however, I urge readers to pursue additional independent research to deepen their comprehension of this facet of Korean history.

Third Republic of Korea

The Third Republic of Korea, which existed from December 1963 to November 1972, emerged following the disbandment of the Supreme Council for National Reconstruction that had toppled the Second Republic and instituted a military regime in May 1961. Park Chung Hee (박정희), who served as the Chairman of the Supreme Council, was elected as the President of South Korea during the presidential election of 1963.

Although the Third Republic was ostensibly characterized by a return to civilian governance through the National Assembly, it functioned as a dictatorship dominated by Park, members of the Supreme Council, and the Democratic Republican Party. . The regime emphasized economic growth, anti-communism, and the enhancement of relations with the United States and Japan. Park secured re-election in 1967 and, with the National Assembly's support, amended the constitution to enable a third term, which he won in 1971. In December 1971, he declared a state of emergency and later proposed reunification with North Korea in July 1972. The October Restoration in 1972 saw the imposition of martial law, the dissolution of the National Assembly, and the announcement of a new constitutional framework. The Third Republic ultimately ended with the ratification of the Yusin Constitution in November 1972, leading to the establishment of the Fourth Republic of Korea.

Park Chung Hee

Park Chung Hee (박정희; November 14, 1917 – October 26, 1979) was a prominent South Korean politician and military officer who held the position of the third president of South Korea from 1962 until his assassination in 1979, following his rise to power through the May 16 coup in 1961. He is often considered one of the most influential figures in Korean history, although his legacy as a military dictator remains a subject of debate.

Prior to his presidency, Park served as the second-highest-ranking officer in the South Korean army. His coup effectively ended the interim Second Republic of Korea, and after two years as the head of the military junta, he was elected president in 1963, marking the beginning of the Third Republic. A staunch anti-communist, he fostered strong relations with the United States, which had maintained a significant military presence in South Korea since the Korean War. He endorsed American military actions in Southeast Asia and dispatched South Korean forces to Vietnam shortly after assuming power. Park implemented a series of economic reforms that resulted in remarkable economic growth and industrialization, a period now referred to as the Miracle on the Han River. This transformation positioned South Korea as one of the fastest-growing economies during the 1960s and 1970s, though it came at the expense of labor rights. Additionally, this period saw the emergence of chaebols, state-supported family-owned conglomerates akin to Japan's zaibatsu, with notable examples including Hyundai, LG, and Samsung.

Official presidential portrait, 1970s

Park's prominence, which peaked in the 1960s, began to decline in the 1970s, marked by narrow electoral victories in the 1971 presidential and subsequent legislative elections. In 1972, he imposed martial law following a self-coup and enacted the authoritarian Yushin Constitution, establishing the Fourth Republic. As a dictator, Park suppressed political dissent, exerted control over the military, and regulated media and artistic expression. His assassination in 1979 by Kim Jae-gyu (김재규), the KCIA director, occurred in the context of the Busan–Masan Uprising, leaving the nature of the act—spontaneous or premeditated—ambiguous. Despite the political upheaval following his death, economic growth persisted, leading to Choi Kyu-hah's (최규하) brief presidency before Chun Doo-Hwan’s (전두환) military takeover. The eventual democratization of South Korea was realized through the June Democratic Struggle in 1987.

Park's legacy remains contentious within South Korean political discussions, complicating objective assessments of his administration. While some acknowledge his role in fostering economic development that transformed South Korea, others condemn his authoritarian governance, particularly post-1971, for compromising civil liberties and human rights in favour of economic stability and social order. A Gallup Korea survey in October 2021 identified Park, alongside former adversaries Kim Dae-jung (김대중) and Roh Moo-hyun (노무현), as among the most positively regarded presidents in South Korean history, particularly among conservatives and older demographics. His daughter, Park Geun-hye (박근혜), later became the 11th president of South Korea, serving from 2013 until her impeachment and conviction on corruption charges in 2017.

Rise to power

On April 26, 1960, Syngman Rhee, the first president of South Korea, was ousted from power and forced into exile due to the April Revolution, a movement primarily driven by students. Later that year, on July 29, Yun Po-sun was elected president; however, the actual authority resided with Prime Minister Chang Myon. The new administration faced immediate challenges, as neither leader could secure the loyalty of a significant faction within the Democratic Party or agree on cabinet appointments. In an effort to maintain the fragile coalition, Prime Minister Chang reshuffled cabinet positions three times within a span of five months.

The newly established government grappled with an economy plagued by years of mismanagement and corruption during Rhee's tenure, while simultaneously facing pressure from the student activists who had played a crucial role in his removal. Demonstrations became a common occurrence, with protesters demanding extensive political and economic reforms. The situation was exacerbated by a decline in public safety and widespread distrust of the police, which had been closely aligned with Rhee's regime, leading to a loss of support for the ruling Democratic Party amid ongoing factional disputes.

Park Chung-hee shook hands with General Guy S. Meloy Jr. during his visit to the United Nations Command in 1961.

In this climate of unrest and division, Major General Park established the Military Revolutionary Committee. Anticipating his imminent retirement, he accelerated the committee's plans, culminating in a military coup on May 16, 1961, which was ostensibly led by Army Chief of Staff Chang Do-yong, who defected on the day of the coup. Following this upheaval, Chang Myon announced his resignation along with his cabinet on May 18. Yun Po-sun accepted the coup and successfully convinced the United States Eighth Army and various commanders of the Republic of Korea Army to refrain from intervening in the transition of power.

A new administration emerged from military officers loyal to Park, with General Chang nominally at the helm of the reformist military Supreme Council for National Reconstruction. However, after Chang's arrest in July 1961, Park assumed full control of the council. The coup was generally embraced by a populace weary of ongoing political instability.

Following the coup, Park was elevated to the rank of Lieutenant General. Historian Hwang Moon Kyung characterized Park's governance as distinctly "militaristic," emphasizing his early efforts to organize South Korean society along militaristic principles. One of his initial initiatives involved a campaign to "clean up" urban areas, which included arresting the homeless and assigning them to work in "welfare centers." American historian Carter Eckert noted that the historiography surrounding Park often overlooks the significant influence of his militaristic worldview on his approach to South Korea's modernization, as well as the impact of Japanese militarism on his establishment of what is referred to as a "developmental dictatorship." Eckert described South Korea under Park as one of the most militarized states globally, highlighting his unprecedented efforts to instil militarization within South Korean society.

Within the Imperial Japanese Army, there existed a conviction that the principles of bushido would imbue Japanese soldiers with an indomitable spirit, rendering them invulnerable in combat. The Japanese perceived warfare primarily as a contest of will, where the side possessing the greater resolve would inevitably triumph. Park, influenced by his training under Japanese officers, often expressed the belief that "we can do anything if we try," positing that sheer willpower could surmount any challenge. Interviews conducted by Eckert with Park's close associates revealed a consensus that Park's formative experiences in officer training in Manchukuo were pivotal to his character, with his friends asserting that understanding his values necessitated an appreciation of his Ilbonsik sagwan kyoyuk, reflective of the ethos of an Imperial Japanese Army officer.

On June 19, 1961, the military council established the Korean Central Intelligence Agency (KCIA) to thwart counter-coups and neutralize perceived threats, both internal and external. The KCIA was endowed with investigative powers and the authority to arrest individuals suspected of misconduct or harbouring anti-government views. Under the leadership of its inaugural director, retired Brigadier General Kim Jong-pil, who was related to Park and a key architect of the coup, the agency expanded its influence into economic and foreign affairs, thereby consolidating its role in the governance of South Korea.

Park with U.S. President John F. Kennedy in Washington, D.C., on November 14, 1961.

President Yun's tenure provided a veneer of legitimacy to the military regime. Following his resignation on March 24, 1962, Lt. General Park, who was the chairman of the Supreme Council for National Reconstruction, seized the opportunity to strengthen his authority by assuming the role of acting president and receiving a promotion to full general. Under pressure from the Kennedy administration, Park committed to reinstating civilian governance.

In 1963, he successfully ran for president as the nominee of the newly established Democratic Republican Party, appointing Park Myung-keun, the party's Vice Leader, as the head of the President's Office. Park won the election against former President Yun, representing the Civil Rule Party, by a narrow margin of just over 156,000 votes, equating to a 1.5 percent lead. He would later secure re-election in 1967, again defeating Yun, albeit with a slightly less challenging campaign.

Yushin Constitution

The governance of the Fourth Republic was characterized by the Yushin Constitution, a framework that drew its nomenclature from the concept of "restoration," akin to the Japanese Meiji Restoration (明治維新, Meiji-ishin), which facilitated Japan's emergence as a global power in the late 19th century. This term Yushin (유신; 維新) implies a significant imperial connotation, reflecting the concentration of power in the presidency, which was a hallmark of the Yushin Constitution. Under this regime, President Park held substantial authority, effectively centralizing governance and diminishing the role of other political entities.

The Yushin Constitution established a highly authoritarian political structure, endowing the president with extensive executive and legislative powers. The presidential term was extended to six years without restrictions on re-election, and the election process was manipulated through an electoral college, the National Conference for Unification, which was designed to limit candidates to a single choice. The president's authority included the ability to suspend constitutional rights and govern by decree, while the National Assembly's power was severely curtailed, as the president could dissolve it at will and appoint a significant portion of its members. This arrangement effectively transformed Park's presidency into a legal dictatorship, leading to widespread but ultimately futile protests against the regime.

Park contended that Western-style liberal democracy was ill-suited for South Korea due to its nascent economic status. He proposed that a "Korean-style democracy," characterized by a robust and unchallenged presidency, was essential for maintaining national stability.

On November 21, 1972, the Yushin Constitution was ratified in a South Korean constitutional referendum, receiving an extraordinary 92.3% approval from a turnout of 91.9%. This constitution led to the dissolution of the Third Republic and the establishment of the Fourth Republic of Korea. Park was re-elected unopposed for both a fourth term in 1972 and a fifth term in 1978.

The Fourth Republic experienced increased instability as Park's popularity waned and his autocratic governance became more overt during the 1970s. The Yushin Constitution facilitated legal and open violations of civil liberties, particularly aimed at quelling growing opposition, which in turn intensified resistance against his regime. Despite Park's repeated assurances of a transition to full democracy, scepticism regarding his intentions prevailed.

Some Documentaries

Numerous videos document the events of the 1950s, 1960s, and 1970s. I recommend seeking out additional videos related to the aforementioned events for a more comprehensive understanding.

youtube

Note this video is 7 hours long

youtube

#Youtube #history #korean history #korea #south korea #photography #50s #60s #70s

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cosmosbeelover · 3 months ago

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The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 6/? (Rewrite)

In Part 6 of The History of Korean Male Groups, the discussion will commence with the era following the Japanese occupation, highlighting the influence of the United States Army Military Government in Korea (USAMGIK) and the establishment of the First, Second, and Third Republic of Korea, which spanned from 1948 to 1972. These significant historical events have enduring effects on contemporary discourse and are closely linked to the contributions of Korean artists who emerged during this period. A summary of these occurrences will be included, along with videos at the end of this post that pertain to the discussed events; however, I encourage readers to engage in further independent research to enhance their understanding of this aspect of Korean history.

Division of Korea

Provisional Government of the Republic of Korea

The Korean Provisional Government (KPG), officially known as the Provisional Government of the Republic of Korea, operated as a government in exile in China during the period of Japanese occupation. Established in Shanghai on April 11, 1919, the KPG enacted a provisional constitution that outlined a democratic republic, the "Republic of Korea," featuring a presidential system and three branches of government: legislative, administrative, and judicial. The KPG claimed the territory of the former Korean Empire and was bolstered by the Korean resistance movement, which received support from the Kuomintang (Guomindang; 中國國民黨), the Soviet Union, and France. Following 1932, the KPG relocated several times before ultimately settling in Chongqing until the conclusion of World War II in 1945, with several of its headquarters in Shanghai and Chongqing now preserved as museums.

The KPG's existence concluded with Japan's surrender on August 15, 1945, prompting its members to return to Korea. There, they established political organizations under the American military administration and vied for influence in what would evolve into South Korea. On August 15, 1948, Syngman Rhee, who had served as the first president of the KPG, was inaugurated as the first President of the Republic of Korea. The current South Korean government asserts continuity with the KPG through the 1987-amended constitution, although this claim has been a subject of debate among scholars and historians.

People's Republic of Korea

The People's Republic of Korea (PRK) (조선인민공화국) was a provisional government established briefly following Japan's surrender at the conclusion of World War II. It was officially announced on September 6, 1945, during the division of Korea into two occupation zones, with the Soviet Union controlling the northern region and the United States overseeing the south. The PRK was founded on a framework of people's committees and aimed to promote the democratization of both society and the economy.

Associate Chairman Lyuh Woon-hyung (류운형) giving a speech at a YMCA in Gyeongseong (16 August 1945).

On December 12, 1945, the US military government in the south deemed the PRK to be illegitimate. Meanwhile, in the north, Soviet authorities assumed control of the PRK by appointing pro-Soviet Korean communists, including Kim Il-sung (김일성), to key positions, thereby integrating it into the political framework of the nascent Democratic People's Republic of Korea (North Korea).

United States Army Military Government in Korea

The United States Army Military Government in Korea (USAMGIK) (재조선 미국 육군사령부 군정청) served as the governing authority for the southern region of the Korean Peninsula from September 8, 1945, until August 15, 1948. This era was marked by significant political and economic instability, largely stemming from the lingering impacts of Japanese colonial rule, which affected both the southern and northern zones of Korea.

The discontent among the populace was exacerbated by the U.S. military government's alignment with remnants of the Japanese administration, including the retention of former Japanese officials as advisors. Additionally, the suppression of the People's Republic of Korea and the endorsement of United Nations elections that further divided the nation contributed to the unrest. The U.S. military's lack of preparation for governance, coupled with their unfamiliarity with the local language and political dynamics, led to policies that often-had destabilizing consequences, further complicated by the influx of approximately 400,000 refugees from the north and returning expatriates.

Anti-trusteeship movement [ko] protest, December 1945

Key Events

In response to increasing public dissatisfaction, Hodge established the Korean Advisory Council in October 1945. The Council predominantly comprised members from the Korean Democratic Party, which had been formed with U.S. support and was largely composed of affluent landowners, business elites, and former colonial officials. Although a few representatives from the People's Republic of Korea were invited to participate, they declined and criticized the Council members for their collaboration with Japanese authorities.

A proposal for a long-term trusteeship over Korea emerged in 1945, leading to an agreement in December between the United States and the Soviet Union to jointly administer the country through the U.S.–Soviet Joint Commission, as established at the Moscow Conference of Foreign Ministers. It was decided that Korea would achieve self-governance after four years of international oversight. Nevertheless, both superpowers endorsed Korean governments aligned with their respective political ideologies, resulting in the establishment of interim administrations in the south led by Kim Kyu-shik (김규식) and Syngman Rhee (이승만), which faced significant public unrest during elections.

The United States Army Military Government in Korea (USAMGIK) prohibited strikes on December 8 and disbanded people's committees shortly thereafter. However, in September 1946, the Communist Party of Korea launched a General Strike that began with railway workers in Busan and quickly expanded to other sectors, involving over 250,000 workers by September 24. In response, the USAMG conducted military operations against the strikers and supported right-wing anti-communist factions. A police shooting during a protest in Daegu on October 1 resulted in a worker's death, escalating tensions into the 'Autumn Uprising,' prompting the U.S. administration to impose martial law and respond violently to demonstrators, leading to numerous casualties.

Jeju inhabitants awaiting execution in late 1948

The Jeju Uprising commenced in April 1948 during the U.S. occupation, triggered by the assassination of 30 South Korean police officers by leftist radicals. This insurrection was incited by Pak Hon-yong (박혼영), a South Korean communist who had previously collaborated with Kim Il-sung in Pyongyang. He urged leftist and communist factions south of the 38th parallel to resist the 1948 Korean elections through any means necessary, announcing a general strike set to begin on February 7. At that time, the communist Workers' Party of South Korea on Jeju had approximately 60,000 members on Jeju, supported by around 80,000 active sympathizers. These individuals not only participated in the strike but also engaged in violent confrontations with government forces.

The conflict intensified following South Korea's independence in August 1948, with President Syngman Rhee's administration largely quelling the uprising by May 1949. The violence resulted in significant atrocities committed by both sides, leading to an estimated death toll ranging from 14,000 to 30,000 individuals. The Jeju Uprising thus stands as a critical episode in Korean history, reflecting the deep-seated ideological divisions and the violent struggle for power during a tumultuous period.

First Republic of Korea

The First Republic of Korea (대한민국; 大韓民國), established on August 15, 1948, marked the beginning of South Korea's independent governance following the end of Japanese occupation and the subsequent United States Army Military Government. Syngman Rhee emerged as the inaugural president after the May 1948 elections, with the National Assembly enacting the nation's first constitution in July, which instituted a presidential system. Although the republic asserted sovereignty over the entirety of Korea, its jurisdiction was limited to the southern region below the 38th parallel until the Korean War concluded in 1953, resulting in a revised border. The regime was characterized by Rhee's authoritarian rule, widespread corruption, minimal economic progress, and a staunch anti-communist stance, which, by the late 1950s, led to increasing political unrest and public dissent against Rhee, culminating in the April Revolution of 1960 that forced his resignation and initiated the transition to the Second Republic of Korea.

Korean War

It is important to mention that numerous YouTube videos are available regarding the Korean War. I will provide links to several of them. These resources can offer valuable insights and perspectives on the conflict, enhancing understanding of its historical significance.

This is a photograph that shows extensive damage to Namdaemun, one of the former gates into the city of Seoul, Korea. A tank is parked near the gate. From: Gene Putnam. Ca. 1951

The Korean War, occurring from June 25, 1950, to July 27, 1953, was a significant military confrontation on the Korean Peninsula between North Korea, officially known as the Democratic People's Republic of Korea (DPRK), and South Korea, or the Republic of Korea (ROK), along with their respective allies. The DPRK received support from the People's Republic of China and the Soviet Union, while the ROK was backed by the United Nations Command (UNC), predominantly led by the United States. This conflict marked the first substantial proxy war of the Cold War era, concluding with an armistice in 1953 but lacking a formal peace treaty, which has perpetuated tensions on the peninsula.

Following the conclusion of World War II in 1945, Korea, previously under Japanese colonial rule for 35 years, was partitioned into two occupation zones by the Soviet Union and the United States at the 38th parallel, with intentions for future independence. However, due to political discord and external influences, these zones established separate governments in 1948. The DPRK, under Kim Il Sung in Pyongyang, and the ROK, led by Syngman Rhee in Seoul, both asserted claims to be the legitimate government of a unified Korea, resulting in border skirmishes exacerbated by communist agitation in the south. On June 25, 1950, the Korean People's Army (KPA), trained and equipped by the Soviets, invaded the south, prompting the UN Security Council to condemn the aggression and call for member states to assist in repelling the invasion, with UN forces comprising 21 nations and the United States contributing approximately 90% of the military personnel.

Seoul fell to enemy forces on June 28, and by early August, the Republic of Korea Army (ROKA) and its allies faced near defeat, confined to the Pusan Perimeter in the southeastern region of the peninsula. On September 15, United Nations forces executed a landing at Inchon, strategically severing the supply lines of the Korean People's Army (KPA). Following a breakout from the perimeter on September 18, UN forces reclaimed Seoul and initiated an invasion of North Korea in October, successfully capturing Pyongyang and advancing toward the Yalu River, which marks the border with China. The situation escalated on October 19 when the Chinese People's Volunteer Army (PVA) crossed the Yalu River, joining the conflict in support of North Korea. By December, UN forces were compelled to retreat from North Korea due to the PVA's aggressive offensives, and Seoul changed hands again in January 1951 before being retaken by UN forces two months later.

Delegates sign the Korean Armistice Agreement in P'anmunjŏm.

The Korean War concluded on July 27, 1953, with the signing of the Korean Armistice Agreement, which facilitated the exchange of prisoners and established a 4-kilometer-wide Demilitarized Zone (DMZ) along the front lines, including a Joint Security Area at Panmunjom. The conflict resulted in over 1 million military fatalities and an estimated 2 to 3 million civilian casualties. Allegations of war crimes emerged, including mass executions of suspected communists by the South and the torture and starvation of prisoners of war by the North. North Korea became one of the most bombed nations in history, with extensive destruction of its major cities. The absence of a formal peace treaty has rendered the war a protracted and unresolved conflict.

Syngman Rhee

Syngman Rhee (이승만; 李承晚), born on March 26, 1875, and passing on July 19, 1965, was a prominent South Korean politician who held the position of the inaugural president of South Korea from 1948 until 1960. He is also recognized by his pen name, Unam (우남; 雩南). Rhee's political career included serving as the first and last president of the Provisional Government of the Republic of Korea from 1919 until his impeachment in 1925, and again from 1947 to 1948. His presidency was marked by authoritarian governance, limited economic progress, and increasing political unrest and public dissent in the late 1950s.

Official portrait, 1948

Rhee was born in Hwanghae Province during the Joseon Dynasty and received his education at an American Methodist institution, where he converted to Christianity. He emerged as a Korean independence activist, facing imprisonment for his efforts in 1899. After his release in 1904, he relocated to the United States, earning degrees from various American universities and meeting President Theodore Roosevelt. Following a brief return to Korea from 1910 to 1912, he settled in Hawaii in 1913. In response to the Japanese crackdown on the March First Movement in 1919, Rhee became involved with the Korean Provisional Government in exile in Shanghai, serving as its first president until his impeachment in 1925. He later returned to the United States, where he campaigned for Korean independence, eventually moving to Washington, DC, in 1939. In 1945, he was brought back to US-occupied Korea by American forces, and on July 20, 1948, he was elected as the first president of the Republic of Korea by the National Assembly, marking the beginning of the First Republic of Korea.

During his presidency, Rhee maintained a staunch anti-communist and pro-American stance, which had defined his political career prior to taking office. His administration swiftly suppressed a communist uprising on Jeju Island and was responsible for the Mungyeong and Bodo League massacres, resulting in the deaths of over 100,000 individuals accused of communist sympathies. Rhee's tenure coincided with the onset of the Korean War (1950–1953), initiated by North Korea's invasion of South Korea. He notably declined to sign the armistice that concluded the conflict, advocating instead for the forceful reunification of the Korean Peninsula.

Following the war, South Korea's economy struggled in comparison to North Korea's and remained heavily dependent on American financial support. After winning re-election in 1956, Rhee sought to amend the constitution to eliminate the two-term limit, facing significant public opposition. He was re-elected uncontested in March 1960 after his rival, Chough Pyung-ok (조평옥), succumbed to cancer before the election. The subsequent victory of Rhee's ally, Lee Ki-poong (이기풍), in the vice-presidential race was met with allegations of electoral fraud, igniting widespread protests that culminated in the student-led April Revolution, during which police violence against demonstrators in Masan occurred. This unrest ultimately compelled Rhee to resign on April 26, leading to the establishment of the Second Republic of Korea. Despite his resignation, protests persisted, prompting a covert evacuation by the CIA on April 28, after which Rhee lived in exile in Honolulu, Hawaii, until his death from a stroke in 1965.

April Revolution

The April Revolution (4.19 혁명), also known as the April 19 Revolution or April 19 Movement, comprised widespread protests in South Korea against President Syngman Rhee and his First Republic from April 11 to 26, 1960, culminating in Rhee's resignation. The unrest began in Masan, a southeastern port city, initiated by student and labor organizations on April 11, following the revelation of a local high school student's death at the hands of police during prior demonstrations against fraudulent elections in March. Growing public dissatisfaction stemmed from Rhee's authoritarian governance, pervasive corruption, violent repression of dissent, and uneven economic development. The situation escalated into significant student protests in Seoul, which were met with brutal suppression, resulting in 186 fatalities over the two-week period. Rhee ultimately resigned on April 26 and sought refuge in the United States, paving the way for Yun Posun's (윤보선) leadership and the onset of the Second Republic of South Korea.

Background

Syngman Rhee served as the inaugural President of South Korea following the 1948 presidential election, guiding the nation through the transition from the United States Army Military Government to the establishment of the First Republic of Korea and leading during the Korean War. His administration, bolstered by American support during the Cold War, adopted a staunchly anti-communist and pro-American posture, utilizing the spectre of communism to justify severe repression of perceived dissent. Initially, this approach was tolerated due to concerns over political unity and potential reprisals; however, discontent grew after the Korean War's conclusion in 1953, as Rhee's government struggled to deliver meaningful economic and social progress, further alienating the populace by amending the constitution to extend his presidency. Consequently, Rhee became widely regarded as a corrupt and authoritarian figure, employing autocratic tactics and cronyism to sustain his regime.

Protesters during the April Revolution

In December 1958, Rhee maneuvered an amendment to the National Security Law through the National Assembly, which granted the government extensive new powers to restrict press freedoms and disenfranchise opposition members.

In 1959, Rhee experienced significant alarm and perceived threats when the United States slashed its economic assistance to South Korea, decreasing from $382,893,000 in 1957 to $222,204,000. This reduction prompted Rhee to adopt increasingly desperate strategies to maintain his political position.

The presidential election in March 1960 featured two primary opponents to Rhee: the minor Progressive Party, led by Cho Bong-am (조봉암), who had garnered one million votes in the 1956 election, and the Democratic Party, represented by Cho Pyong-ok (조평옥). In July 1959, Rhee accused Cho Bong-am of communist affiliations, leading to the latter's imprisonment and subsequent execution. Meanwhile, Cho Pyong-ok travelled to the United States for medical treatment but tragically died of a heart attack, raising public suspicions regarding the timing of these events.

Rhee was intent on securing the election of his ally, Lee Ki-poong, as Vice President, a position contested in a separate election on the same day. Lee faced off against Chang Myon, the Democratic Party candidate and former ambassador to the United States during the Korean War. On March 15, despite being largely incapacitated, Lee achieved an implausibly large victory, receiving 8,225,000 votes compared to Myon's 1,850,000. This outcome led to widespread allegations of electoral fraud, as reports indicated that Democratic rallies were banned nationwide and numerous pre-marked ballots were illegally inserted into ballot boxes on election day.

Masan protests and the death of Kim Ju-Yul

On March 15, coinciding with the announcement of election results, Democratic Party members in Masan organized a protest against alleged electoral corruption. Approximately one thousand residents gathered outside the party's local headquarters around 7:30 PM, where they faced a significant police presence amid a blackout of city lights. Tensions escalated as police began firing on the demonstrators, who retaliated by throwing rocks.

On April 11, a fisherman in Masan's harbour found the body of Kim Ju-yul (김주율), a student who had gone missing during the March 15 protests. Although authorities attributed his death to drowning, many disputed this claim after protesters entered the hospital where his body was held. They discovered that Kim had suffered a fatal injury from a tear-gas grenade, indicating that police had fired at a dangerously low angle. The regime's attempts to suppress news of this incident failed, as it was widely reported in the Korean press and gained international attention through AP. This event catalyzed a national movement against electoral corruption, leading to three days of intense protests in Masan and further violent confrontations with law enforcement. Rhee's administration attempted to divert blame by alleging communist involvement in the unrest.

March 15 50th Anniversary

Seoul protests

On April 18, protests erupted in Seoul, initiated by students from Korea University who organized a peaceful demonstration at the National Assembly to denounce police brutality and advocate for new elections. As they returned to their campus, they faced violent attacks from gangs allegedly financed by supporters of President Rhee.

The following day, known as "Bloody Tuesday," more than 100,000 students from high schools and universities marched towards the Blue House, demanding Rhee's resignation. In response, police opened fire on the crowd, resulting in approximately 180 fatalities and thousands of injuries. To quell the unrest, the Rhee administration declared martial law.

By April 25, the protests had escalated significantly, with professors joining students and citizens, creating a movement that outnumbered both soldiers and police, who chose not to engage with the demonstrators. On April 26, 1960, Rhee resigned, with Lee Ki-poong being held accountable for widespread governmental corruption. The subsequent day saw the resignations of the Minister of Interior and the Chief of Security, who took responsibility for the violent Masan incident. Tragically, on April 28, Lee Ki-poong's son committed a murder-suicide involving his family in Rhee's mansion.

Aftermath

The resignation of Rhee and the subsequent death of Lee Ki-poong marked the conclusion of the Liberal Party's governance. Rhee was exiled to Hawaii on May 29, 1960, with the expectation of a brief absence; however, he was unable to return due to widespread public dissent. This transition led to the establishment of the Second Republic of South Korea, which implemented a parliamentary system designed to diminish presidential authority. Yun Bo-seon was elected president on August 13, 1960, but actual power resided with the prime minister, Chang Myon.

First post-revolution trial began July 5th in South Korea for thirty former high officials of the Rhee regime on charges of corruption, maladministration, and election rigging, etc.

An investigative committee of the National Assembly determined that the police's gunfire aimed at the crowd was intended to kill rather than disperse the protesters. During a subsequent criminal trial, it was disclosed that Park Jong-pyo, the Chief of Public Security, had weighted Kim Ju-yul's corpse with rocks and disposed of it in the Masan area to prevent it from surfacing. Park received a life sentence for his role in Kim's death, one of many individuals sentenced by a revolutionary tribunal for various offenses, including several who faced capital punishment. Among those executed were officials who had authorized the police action, including Secretary of the Interior Choi In-Kyu (최인규) and Kwak Yong-ju, the presidential security chief, both of whom were hanged on December 21, 1961.

On May 16, 1961, amid ongoing political turmoil, General Park Chung Hee (박정희) executed a coup d'état that dismantled the brief Second Republic of South Korea, establishing a military junta that would evolve into the autocratic Third Republic. Rhee passed away in Honolulu on July 19, 1965, at the age of 90, at 19:35 Korean time.

Second Republic of Korea

The Second Republic of Korea (제2공화국), established from April 1960 to May 1961, marked a significant political transition in South Korea following the mass protests of the April Revolution against President Syngman Rhee. This government succeeded the First Republic and introduced a parliamentary system, with Yun Posun as President and Chang Myon as Prime Minister. It aimed to dismantle Rhee's authoritarian regime, promote liberal democracy, and initiate the first Five-Year Plans to revitalize the previously overlooked economy. However, after just thirteen months, the Second Republic was overthrown by a military coup on May 16, led by Park Chung Hee, which resulted in the establishment of a provisional military government under the Supreme Council for National Reconstruction, paving the way for the Third Republic of Korea. Notably, the Second Republic remains the sole instance of a parliamentary government in Korea's history.

Yun Po-sun

Yun Po-sun (윤보선; August 26, 1897 – July 18, 1990) was a prominent South Korean politician and activist who held the office of the second president of South Korea from 1960 to 1962. His presidency was characterized by its limited authority, as he primarily functioned as a symbolic leader within the framework of the parliamentary system established during the brief Second Republic of Korea.

Official portrait, 1960

Yun's political journey commenced in the aftermath of World War II, where he initially served as Secretary to the Chief of Staff in 1947, followed by his appointment as Mayor of Seoul in 1948. He took on the role of Commerce Minister in the newly independent Korea from 1949 to 1950. In 1955, he played a crucial role in founding the South Korean Democratic Party. However, his presidency came to an abrupt end when he was ousted by Park Chung Hee following the May 16 coup in 1961.

Yun's political involvement began in 1945, shortly after Korea's liberation. He was mentored by Dr. Syngman Rhee, the first President of South Korea and a Princeton University alumnus. By 1947, Yun had ascended to the position of Secretary to the Chief of Staff, and in 1948, he was appointed Mayor of Seoul. His subsequent role as Minister of Commerce and Industry was marked by growing dissent against Rhee's authoritarian governance, leading to his election to the National Assembly in 1954 and his co-founding of the opposition South Korean Democratic Party the following year.

Chang Myon

Chang Myon (장면; 張勉; August 28, 1899 – June 4, 1966) was a prominent South Korean figure known for his roles as a statesman, educator, diplomat, journalist, and social activist, as well as a Roman Catholic youth leader. He served as the sole prime minister during the parliamentary Second Republic and was the fourth and final vice president of South Korea in the First Republic. His artistic name was Unseok (운석), and he was known in English as John Chang Myon.

Chang c. 1955

During the period of Japanese occupation, Chang contributed to education as a teacher, administrator, and principal. In 1948, he represented the Republic of Korea at the UN General Assembly and became the nation's first ambassador to the United States in 1949. He played a crucial role in advocating for U.S. and UN military support during the Korean War in 1950. Following the student-led April Revolution that ousted Syngman Rhee, he was elected Prime Minister of the Second Republic in 1960, leading the government until it was overthrown by Park Chung Hee's military coup on May 16, 1961.

May 16 Coup

The military coup d'état (5·16 군사정변) on May 16, 1961, in South Korea was orchestrated by Park Chung Hee and his associates, who established the Military Revolutionary Committee, nominally under the leadership of Army Chief of Staff Chang Do-yong, who consented to the coup on that day. This event effectively dismantled the democratically elected government led by Prime Minister Chang Myon and President Yun Posun marking the end of the Second Republic and the establishment of a military Supreme Council for National Reconstruction, with Park assuming the role of chairman following Chang's arrest in July.

1961. 5.16 Park Jung Hee

This coup played a crucial role in the emergence of a new developmentalist elite and set the stage for South Korea's rapid industrialization under Park's regime. However, its legacy remains contentious due to the significant curtailment of democracy and civil liberties that accompanied it, along with the subsequent purges. While Park and his supporters referred to the event as the "May 16 Military Revolution," framing it as a significant national awakening, the characterization of the coup as a "revolution" is debated, and its assessment continues to provoke differing opinions.

Background and causes

The context surrounding the coup can be examined through both its immediate circumstances and the broader evolution of South Korea following liberation. While the challenging economic and political environment of the Second Republic fostered conditions conducive to military intervention, the origins of the coup trace back to the latter years of Rhee's administration. Scholars such as Yong-Sup Han contend that the prevailing interpretation of the coup as merely a reaction to the instability of a nascent regime is overly simplistic.

South Korea under Syngman Rhee

Beginning in 1948, South Korea was under the leadership of President Syngman Rhee, an ardent anti-Communist who leveraged the Korean War to establish a dominant hold on political authority within the nation. Rhee's administration was characterized by the interests of a conservative elite, often referred to as "liberation aristocrats," who had gained prominence during the American occupation. This group constituted the majority of the political landscape, including both Rhee's allies and adversaries within the Democratic Party, which shared a vision of society that closely mirrored Rhee's own. To eliminate substantial opposition, Rhee orchestrated the execution of Cho Bong-am, a candidate who had garnered approximately 30% of the vote in the 1956 presidential elections with a platform advocating for peaceful reunification, a level of support deemed intolerable for an opposition figure.

“Combat-ready leathernecks of the Korean Marine Corps march to the capitol after the successful bloodless coup.” 1962-05-17.

Notably, even prominent opposition leaders like Cho were part of a broader conservative consensus among the ruling elite, which was grounded in a traditional Confucian perspective that dismissed concepts of ideological pluralism and equality in human relations as alien. This worldview emphasized the importance of paternalistic governance and extensive political patronage networks. Within this traditional framework, Rhee was regarded as the principal "elder" of Korean society, to whom citizens owed familial loyalty, a bond further reinforced by the obligations linking him to many members of the ruling class.

The governance of the "liberation aristocrats" resulted in a stagnation of development in South Korea, contrasting sharply with the advancements seen in neighbouring Japan. Although South Korea had experienced significant development during the Japanese colonial period, the presidency of Rhee was characterized by a lack of substantial economic initiatives, leaving the nation impoverished and predominantly agrarian. This stagnation spurred a rising nationalistic intellectual movement that advocated for a comprehensive societal overhaul and a complete political and economic transformation. At this juncture, Park Chung Hee, a relatively low-ranking army officer with uncertain political affiliations, became notably influenced by the emerging intellectual discourse advocating for change.

Social and economic problems of the Second Republic

Following the manipulated elections of March 1960, escalating protests culminated in the April Revolution, which led to Rhee's forced resignation on April 26 under pressure from the United States. With Rhee's departure, a new constitution was enacted, establishing the Second Republic, and the legislative elections held on June 29 resulted in a significant victory for the Democratic Party, while Rhee's Liberal Party was reduced to only two seats in the newly formed lower house of the National Assembly. The Second Republic implemented a parliamentary system, designating a ceremonial president as the head of state, while actual executive authority was concentrated in the prime minister and the cabinet. In August, Democrat Yun Posun was elected president, with former vice-president Chang Myon appointed as prime minister.

Chun Doo-hwan (전두환), demonstration in support of the May 16 military coup

The Second Republic faced significant challenges from its inception, characterized by intense factionalism within the ruling Democratic Party and persistent public discontent. The South Korean economy suffered from rampant inflation and soaring unemployment, with crime rates more than doubling during this period. For instance, between December 1960 and April 1961, rice prices surged by 60%, while unemployment rates remained above 23%, leading to widespread food shortages. Chang, representing the Democratic Party's "New Faction," ascended to the position of prime minister by a mere three-vote margin. However, his purges of Rhee's appointees were perceived as ineffective, as he manipulated the suspect list to favour affluent businessmen and influential generals. Despite the removal of Rhee and the establishment of a democratic constitution, the entrenched "liberation aristocrats" continued to wield power, exacerbating the already dire situation in South Korea.

The disintegration of South Korean political structures, coupled with the administrative purges affecting the military, severely undermined the morale of the Military Security Command, which was responsible for maintaining military discipline and addressing insubordination. This hesitance to take decisive action created an environment conducive to the planning and execution of a coup. The myriad issues plaguing the Second Republic provided a fertile ground for such a coup to be organized and ultimately realized.

Factionalism in the military

A significant contributor to the coup's emergence was the internal factionalism within the South Korean army, which was among the largest globally, comprising 600,000 personnel at that time. The military's identity was shaped by a blend of Japanese and later American training, which merged the Japanese militarist ethos with American technical efficiency. This transformation expanded the military's role from merely defending against communist threats to actively participating in the nation-building process. Reform-minded junior officers perceived the senior leadership as tainted by political affiliations, a situation exacerbated by a stagnation in promotions due to the consolidation of senior command positions following the Korean War's rapid expansion.

Additionally, the military was fragmented along regional lines and among factions of officers from the same educational backgrounds. The most prominent divisions arose between those who graduated from the Japanese Military Academy and the Manchurian officers' school in Xinjing, while lower-ranking officers were further divided based on their graduation classes from the post-liberation Korean Military Academy. Park, having attended all three institutions, was strategically positioned to spearhead the coup coalition, leveraging his extensive connections with both senior military leaders and younger factions.

Maj. Gen. Park Chung-hee (left) stands with his lieutenants in front of Seoul City Hall after seizing power in a coup on May 16, 1961. (Korea Herald file photo).

Following the fall of the Rhee administration and the establishment of the Second Republic, reformist factions, primarily composed of KMA graduates, began advocating for accountability among senior military leaders implicated in the manipulation of the 1956 and 1960 presidential elections. Major General Park, positioned relatively high within the military hierarchy, publicly aligned himself with the reformists, calling for the resignation of Army Chief of Staff Song Yo-chan on May 2. Subsequently, on September 24, a group of 16 colonels, spearheaded by Kim Jong-pil, demanded the resignation of Chairman of the Joint Chiefs of Staff of Staff Choi Yong-hui, an event referred to as the "revolt against seniors" (하극상 사건; 下剋上事件). At this juncture, plans for a coup were already in motion, further expedited by the aforementioned revolt.

Course of events

On the morning of May 16, a plot was once again exposed, prompting swift measures from the authorities. The Counter-Intelligence Command issued a warning regarding a potential mutiny, leading to the deployment of military police to apprehend those suspected of involvement. Park relocated to the Sixth District Army Headquarters, now known as Mullae Park, to oversee the coup operations personally and to attempt to salvage the initiative. In a rallying speech to the gathered soldiers, he articulated the dire state of the nation, criticizing the civilian government for its corruption and urging the military to rise against it in a bid to restore order without resorting to violence.

The impact of Park's address was profound, resulting in even the military police, initially sent to suppress the uprising, defecting to his side. With control of the Sixth District Army secured, Park appointed Colonel Kim Jae-chun to lead the initial phase of the occupation of Seoul. He also communicated with Chang Do-yong, compelling him to align with the coup or face repercussions for his ties to the civilian administration. Subsequently, Park proceeded to the Special Warfare Command, where he directed operations to cross the Han River and seize the presidential residence at the Blue House.

An artillery brigade established control over the central Army Headquarters and secured the northern downtown areas of Seoul, situated north of the Han River. By 4:15 AM, following a brief confrontation with loyalist military police stationed at the Han bridge, Park's forces successfully occupied the administrative buildings of all three government branches. They then proceeded to seize the headquarters of the Korean Broadcasting System (KBS), where they announced the formation of the Military Revolutionary Committee and their assumption of power.

General Lee Han-lim, the only commanding officer to declare public opposition to the coup.

The proclamation articulated the military's rationale for the coup, stating that the authorities could no longer avoid conflict and had initiated a coordinated operation to take control of the government. The military justified their actions by asserting that the nation's future could not be entrusted to a corrupt and ineffective regime, and emphasized the necessity for the armed forces to guide the country, which they believed had strayed dangerously off course.

The broadcast further delineated the coup's policy goals, which included a staunch anti-communist stance, the strengthening of relations with the United States, the eradication of political corruption, the establishment of a self-sufficient national economy, the pursuit of Korean reunification, and the removal of the current political leadership. Although the proclamation was issued in the name of Chang Do-yong, identified as the committee's chairman, it was done without his prior consent. As dawn approached, a marine corps unit led by Kim Yun-geun crossed the Han River and took control of the Blue House as per orders.

The civilian government swiftly collapsed following the coup. Prime Minister Chang Myon fled Seoul upon learning of the takeover, while President Yun Posun resigned himself to the situation, continuing as a nominal leader until 1963, albeit devoid of real authority. Commander Lee Han-lim of the First Army had initially planned to mobilize reserves to counter the coup but ultimately retreated to avert a potential North Korean incursion, leading to his arrest two days later. With twenty heavily armed divisions backing the coup in Seoul, any hope of suppression was effectively extinguished. After three days in hiding, Chang Myon emerged to announce the resignation of his entire cabinet, transferring power to the new junta. Army cadets paraded through the streets in support of the coup, and Chang Do-yong accepted his role as chairman of the committee, thereby legitimizing its authority. The May 16 coup was thus fully realized.

Aftermath

The process of establishing a new government commenced promptly following the completion of the coup, with martial law being enacted immediately. On May 20, the Military Revolutionary Committee was rebranded as the Supreme Council for National Reconstruction (SCNR), and a new cabinet was formed the next day. Chang Do-yong, who served as the committee's chairman, retained his position as Army Chief of Staff while also assuming the roles of Prime Minister and Defence Minister, thereby becoming the formal leader of the administration. The SCNR was structured as a junta comprising the 30 highest-ranking military officials, organized into 14 subcommittees, and was endowed with extensive powers, including the authority to enact laws, appoint cabinet members, and oversee the overall administration.

The leaders of the Military Revolutionary Committee pictured on 20 May, four days after the coup: chairman Chang Do-yong (left) and vice-chairman Park Chung Hee (right).

However, the formation of the new cabinet was marred by a fierce internal power struggle, which Park swiftly navigated to consolidate authority. On June 6, the SCNR enacted the Law Regarding Extraordinary Measures for National Reconstruction, which effectively removed Chang from his roles as Defense Minister and Army Chief of Staff. This legislation was largely crafted by Yi Seok-che, who was acting under Park's directive to "eliminate" Chang. Subsequently, on June 10, the Supreme Council for National Reconstruction Law was passed, designating the deputy chairman of the SCNR as the head of its standing committee, thereby augmenting Park's powers. Ultimately, on July 3, Chang was arrested on charges of conspiring to instigate a counter-coup, and the June 10 law was revised to enable Park to take on the dual role of chairman of both the SCNR and its Standing Committee.

Legacy and evaluation

The coup on May 16 marked the beginning of a succession of military governments that persisted in various forms until 1993. It set a precedent for subsequent coups, including those on December 12 and May 17, orchestrated by Chun Doo-hwan, who succeeded Park. The emergence of a unified opposition during Park's regime, culminating in the Gwangju Democratization Movement post-1980, led to significant debate regarding the coup. Critics, including figures like Kim Dae Jung, condemned it as an unjustified act of violence that dismantled South Korea's first authentic democratic government, while others highlighted its positive outcomes, such as the rapid industrialization noted in a 1994 Freedom House report.

In the official narrative prior to 1993, the coup was termed the "May 16 Revolution" (5·16 혁명; 五一六革命) However, under the reformist leadership of Kim Young-sam, who had previously been an opposition figure, it was reclassified as a coup or military insurrection (군사 정변; 軍事政變). Park characterized the "May Revolution" as an essential act of self-defence for the Korean populace, and the military regimes' historiography framed it as a manifestation of national will. Kim Young-sam's reinterpretation challenged this perspective, simultaneously acknowledging the April 1960 protests as the "April Revolution."

This reinterpretation gained traction between 1994 and 1995 through educational reforms and the publication of history textbooks that adopted the new terminology. The shift in labelling reflects a broader societal reassessment of the events surrounding the coup and its implications for South Korea's political landscape. The evolving narrative underscores the complexities of historical memory and the ongoing struggle over the interpretation of pivotal moments in the nation's history.

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The second part of this episode will be available soon. Due to unexpected challenges in saving the complete episode, it has been split into two segments. In the upcoming part 2, I will discuss the Third Republic of Korea, accompanied by videos at the conclusion that address the events covered. I also urge readers to pursue additional independent research to deepen their comprehension of this facet of Korean history.

#history #korean history #korea #south korea #photography #50s #60s #70s

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cosmosbeelover · 3 months ago

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The Lost 30 Years - Seol Woon-do / Jin Bo-ra / Na Hoon-a, etc. (잃어버린 30년 - 설운도 / 진보라 / 나훈아 등) - Episode 11/35 (Pt. 1)

Front cover of the Lost 30 Years album

The album in question, titled 'The Lost 30 Years,' features performances by various artists, including Seol Woon-do, Jin Bo-ra, and Na Hoon-a. It serves as a commemorative compilation associated with the special live broadcast "Finding Separated Families," which aimed to address the poignant issue of families separated by historical circumstances. Released on July 15, 1983, by Oasis Records, this album is cataloged as OL-A-2523. The significance of this album lies not only in its musical contributions but also in its role in raising awareness about the emotional impact of family separation.

The Lost 30 Years Album Back Cover

Included Songs:

The album features a diverse collection of songs across two sides. On Side A, notable tracks include "The Lost 30 Years," performed by Seolwundo with lyrics by Park Geon-ho and composition by Namgugin (남국인). Other significant contributions include "How have you lived" by Jin Bo-ra, "The unfilial son cries" by Na Hoon-a (나훈 아), and "Stay strong, Geumsoon" by Hyeonin (현인), among others, showcasing a range of lyrical themes and musical styles.

Side B continues this exploration with songs such as "We met" and "Good night, comrade," both performed by the KBS Choir, highlighting the collaborative nature of the album. Additional tracks like "Moonlight at Panmunjom" by Godaewon (고대원) and "Busan Station of Farewell" by Nam In-su further enrich the listening experience, while "I miss Mt. Geumgang" and "Thinking of my brother" reflect poignant sentiments. The album concludes with an instrumental piece titled "Oh my gosh, donggi donggi," composed by Healthy Song (건전가요; Geonjeongayo), adding a unique touch to the overall compilation.

There are a few additional songs in this playlist, I've been searching for this playlist for so long so I hope this is the right album. I also put up the Vibe playlist.

Finding Dispersed Families (1983)

This album lacks extensive information compared to the previous ones I have discussed, as it primarily features songs that were performed during the KBS 1TV Special Live Broadcast aimed at reuniting dispersed families in 1983, thirty years after the Korean War concluded in 1953. I will explore the significance of this album and the context in which these songs were presented.

The KBS 1TV Special Live Broadcast, which aired in the early 1980s, holds great historical importance in South Korea, as it addressed the profound separations and impacts experienced by Koreans due to the Korean War, and I will delve into the details of this significant event.

This post regarding the album will be extensive due to the significant amount of important information related to both the album and the event.

Overview

A program broadcast on KBS1 from June 30 to November 14, 1983, lasted for 138 days, totaling 453 hours and 45 minutes. It is recognized as the longest continuous live broadcast globally for a single program. The initiative involved nearly 1,000 individuals, including KBS staff such as announcers, producers, and technical personnel, as well as college students who assisted by answering calls. During this period, approximately 50,000 separated families visited Yeouido, leading to the reception of 100,952 cases, of which 53,536 were aired, resulting in 10,189 family reunions.

The siblings Kwak Man-young and Kwak Tam-sil, who were separated while taking an evacuation train at Yeongdeungpo Station in 1950 , are reunited after 33 years. The older sister, Kwak Tam-sil, was delighted to hear that her parents were still alive and shouted “Manse!” Original article with the photo (Reporter Lee Jung-hyun , Dong -A Ilbo) Filmed. Appears in the video).

The reunion success rate stood at 19.03%, marking a significant improvement over previous efforts to reunite separated families through print and radio media. While discussions about separated families often evoke the division between North and South Korea, this program aimed to facilitate reunions among families within South Korea and those abroad, thus encompassing a broader definition of separation. Notably, the first official reunions between families from the North and South occurred in 1985, two years after this program's conclusion.

Background

During the mid-to-late 20th century, a significant number of individuals in South Korea lived in a state of uncertainty regarding the fate of their families, with police estimates suggesting that around 10.5 million people belonged to 'separated families.' Given that South Korea's population was approximately 40 million in the early 1980s, this statistic indicates that one in four individuals was affected by family separation.

The majority of these separated families comprised compatriots who had either been conscripted by the Japanese or had emigrated for work, returning home after liberation or becoming estranged during the Korean War's turmoil. The forced migration resulting from the war's devastation led to various forms of separation, whether through chaotic evacuations, air raids, or fleeing from combat. The indiscriminate nature of air raids during this period meant that refugees were often caught in the crossfire, exacerbating their plight.

The cultural differences between South Koreans and UN forces, coupled with the limited foreign language proficiency among Koreans, hindered effective communication and identification of civilians versus combatants. During the Cold War, the lack of robust mass media infrastructure, such as newspapers, television, and telephones, further complicated the ability to share information. Although some communication technologies existed, they were often inaccessible to the general population, making reunification nearly impossible for those who had been separated.

In the mid-1980s, KBS identified the typical male demographic in South Korea using census data, depicting a household head as a man in his 40s, residing with his wife and two children, and lacking a telephone. Despite the national promotion of events like the Asian Games and the Olympics, the penetration of telephones in households was significantly low. It was not until the late 1990s that telephone access became widespread, leading to the gradual disappearance of public payphones. During this period, black-and-white televisions were prevalent in urban areas, while color televisions, introduced in 1980, remained costly and not widely adopted. Radios, being more affordable, had a broader distribution, but their limited broadcasting channels restricted their utility in reconnecting separated families.

Access to newspapers was relatively straightforward; however, Statistics Korea reported a 7% illiteracy rate among the Korean population in 1970. The elderly demographic was substantial, yet the economically active population exhibited virtually no illiteracy. Subsequent surveys on literacy became increasingly ineffective, with the last conducted in 1970. The challenges of placing advertisements in newspapers for ordinary citizens often resulted in missed opportunities for individuals seeking to reconnect, compounded by issues of misremembered details, such as names.

At that time, the government imposed restrictions on the number of pages each newspaper could publish to conserve resources, limiting them to three sheets or twelve pages. Consequently, even with advertisements, locating specific notices proved difficult without diligent searching. In response, the Hankook Ilbo dedicated an entire page in July 1970 to a special feature aimed at reuniting separated families, yet they could only list around 50 individuals, resulting in minimal social impact.

Numerous instances emerged post-war where individuals became estranged due to financial hardships, leading to a loss of communication. This phenomenon predominantly affected those employed as domestic workers or in urban factories. There were even occasions when individuals returned home during holidays, only to discover that their families had relocated, resulting in permanent separations. The absence of the Housing Lease Protection Act exacerbated these issues, as many faced eviction for unpaid rent or fled in the night with their security deposits, making such disconnections quite prevalent.

During this period, the societal norm surrounding family separation was pronounced. When a daughter or sister married, it often resulted in a severance of ties with her parents, or she might be adopted by relatives or others to alleviate familial burdens, sometimes even ending up in orphanages. The aftermath of war, coupled with poverty and child abuse, frequently left individuals without a stable home, complicating their ability to reconnect with loved ones. Broadcasts from that era revealed numerous cases where individuals were unaware of their own names or those of their families, highlighting the profound impact of these circumstances.

In the early 1980s, Korea experienced a significant lack of internet connectivity, which hindered communication among separated families. The introduction of PC communication by Dacom in 1985 marked the beginning of digital communication, but it was not until after 2000 that the internet became widely accessible to the general public. This accessibility was facilitated by the National PC Project and the proliferation of high-speed internet services like ADSL. At that time, the telephone network was also underdeveloped, with limited coverage that made communication challenging.

Prior to the airing of the program "Search for Separated Families" in 1983, individuals sought to reconnect with lost relatives through newspapers, which were the most effective medium available. They placed advertisements in the help wanted sections or participated in "People Search" initiatives organized by major newspapers. However, the limited number of pages in these publications and the absence of photographs diminished their effectiveness. The most widely circulated newspapers, such as Dong-A Ilbo and Hankook Ilbo, had only eight pages initially, which later expanded to twelve and then sixteen pages. Government control over newspaper content and pagination further restricted the dissemination of information, a practice that persisted in North Korea's Rodong Sinmun even into the 21st century.

The assertion that government resident registration data could facilitate locating individuals through administrative agencies or law enforcement was, at the time, unfounded. The family registration system was instituted in 1909, followed by the introduction of the resident registration system in 1942, coinciding with Japan's general mobilization during the war. This period saw the consolidation of resident registration data for colonial Koreans. However, following liberation, a significant influx of overseas compatriots returning to Korea led to a rapid increase in the unregistered population, exacerbated by a prolonged administrative vacuum that hindered data updates.

The outbreak of the Korean War further complicated matters, as numerous government offices were destroyed, resulting in the complete loss of many administrative documents, including family registers. Additionally, South Vietnamese refugees lacked any family registration, necessitating the creation of new records. Consequently, after the establishment of the government and the initiation of formal administration, many records were either lost during the war or reconstructed from memory and inquiries, rendering them fundamentally different from those established during the Japanese colonial era. The government, preoccupied with post-war recovery, lacked the resources to prioritize the search for separated families, making it challenging to utilize government offices for this purpose.

In 1968, the government initiated the assignment of resident registration numbers to all citizens, with the first resident registration cards being issued in 1970. To mitigate confusion, existing data remained uncomputerized and was stored separately in local offices, necessitating physical searches across the country for any individual. The full computerization of resident registration data was not achieved until the 2000s, raising questions about the efficacy of military service evasion methods, such as the theft of registration documents or their misplacement within files. This period was marked by significant North Korean provocations, which necessitated stringent administrative oversight of military service.

The lack of credibility in registration processes in Korea can be attributed to historical issues with the creation of registration documents through inefficient administrative practices. Although efforts were made to computerize the system, this merely involved digitizing existing records without verifying the authenticity of the original documents. Consequently, the integrity of the registration system remains questionable, reflecting broader challenges in administrative governance.

In the early 1980s, the police in Korea initiated the computerization of various resident registration records, facilitating rapid searches. By 1982, the National Police Agency launched a service aimed at locating separated family members by name. However, the limited diversity in Korean surnames resulted in numerous individuals sharing the same name, complicating the search process. While the use of Chinese characters could help differentiate individuals, the existing computer systems lacked the capability to process these characters. Consequently, identifying individuals based solely on names proved challenging, necessitating additional identifying information such as facial features.

The advent of color broadcasting in 1980, coupled with the proliferation of color televisions and multiple relay stations, significantly enhanced visibility across South Korea, achieving a 90% coverage rate. In contrast, the newly merged 2TV network had only recently commenced national broadcasting, resulting in a lower viewership of around 70%. The program for reuniting separated families was conceptualized in 1983, indicating a swift response to the urgent need for such services. This urgency underscores the profound emotional distress experienced by individuals separated from their families during this period.

Program Planning

In 1983, marking the 30th anniversary of the armistice, KBS organized a series of programs focused on the Korean War during a special week commencing June 25. Prior to the airing of Finding Separated Families, a five-part series titled '5-part Planning Series Although 6.25' was broadcast from June 20 to 24, followed by '6.25 Real Record-1000 Days of Record' on the 25th. KBS aimed to leverage the power of television as a public medium to locate separated families residing in South Korea. Prior to this initiative, KBS had been active in Sakhalin and China, regions lacking diplomatic relations during the Cold War. At that time, the Republic of China was acknowledged as the legitimate government of the Chinese mainland, while the People's Republic of China was often referred to derogatorily as the Communist Party of China (中共). Efforts had been underway to facilitate radio broadcasts for separated families in Bukgando and other areas, with this initiative serving as a means to commemorate the 30th anniversary of the June 25th Armistice in Korea.

A radio program titled "I Still Haven't Found My Family" was aired during the week of June 25th, garnering an enthusiastic response from listeners. This prompted the development of a television counterpart, initially named 'Studio 830,' which later transformed into 'Family Journal' during the spring reorganization of 1987, and subsequently became 'Morning Yard' in the spring of 1991. A special segment focused on reuniting separated families featured nine families, yet none achieved a reunion. In response to this outcome, the producer Choi Jong-geon proposed that the separated family search be designated as a special broadcast, leading to its scheduling for June 30th. Originally conceived as a two-part special commemorating the 33rd anniversary of the Korean War and the 30th anniversary of the armistice, the program was intended to last approximately 90 minutes, concluding with the evening news around 0:30.

June 30, 1983: Live broadcast begins

At 10:15, following the 9 o'clock news and regular programming, the live broadcast commenced with a signal from the control room. The format of the initial broadcast involved inviting approximately 150 families who had been separated and had previously applied to gather in a public hall, where Dr. Yoo Cheol-jong and announcer Lee Ji-yeon would present detailed accounts of each individual's story. Additionally, regional stations were linked to share narratives of separated families from various provinces, and if there were matching stories, a phone call facilitated a two-way relay between the stations. The Red Cross, which had been actively engaged in efforts to reunite separated families, reported that over 3,000 families had been reunited through its initiatives over the past three decades. Furthermore, KBS Radio 1 once highlighted the electronic calculation center of the National Police Agency, although the primary aim of the broadcast remained focused on reuniting separated families.

"Initially, I had concerns regarding the effectiveness of the separated family reunion program. I questioned whether I would even have the opportunity to meet a single individual. However, everything changed dramatically when the 120-minute program premiered in an expanded format on at 10:15 p.m. on June 30. The reception area in the KBS central hall quickly became inundated with reunion applications, and by 11 p.m., it was nearly at capacity. An emergency meeting was convened due to the broadcast, originally scheduled to conclude at 12:15 p.m., being extended until 2:30 a.m., with plans to continue the following day. Within the first four hours alone, more than 2,000 applicants arrived." This account is provided by Ahn Gook-jung, who served as the head of KBS Planning and Production Division 1 during that period. The overwhelming response highlighted the program's significance and the public's eagerness to reconnect with loved ones, showcasing the profound impact such initiatives can have on individuals and families.

The audience exhibited a remarkable level of enthusiasm during the event. Alongside the 150 attendees present on the main stage, over 800 individuals had already registered prior to the event, resulting in a packed audience comprised of separated families. To facilitate the introductions, three to four sub-hosts, including announcer Son Seok-gi, were engaged. Within ten minutes of the live broadcast, the ten confirmation phones installed in the studio began to ring incessantly. Notably, the phone numbers were displayed on screen approximately seven minutes and twenty-one seconds into the broadcast, and the first call was received just twenty seconds after their introduction, leading to a steady influx of calls. The call takers were visibly occupied, and in addition to the announced lines, KBS's General Affairs Department and all relevant telephone lines were activated, marking an unprecedented scenario since the installation of the DDD.

Families separated by circumstance flocked to the KBS studio in Yeouido, arriving without prior appointments until late into the night. MC Yoo Cheol-jong urged viewers to come to KBS, emphasizing that the curfew had been lifted in most areas of the country on January 5, 1982, just before the program commenced. His repeated encouragement, "You can come out anytime," further fueled the urgency among separated families, who arrived at KBS with a faint hope of being featured on the show. In an era characterized by limited communication, the media's influence served as a vital lifeline for these families, providing a sense of connection and possibility.

KBS initially scheduled a broadcast lasting approximately one hour and thirty minutes, with plans to adapt the live segment to potentially extend it to one o'clock. The live broadcast, originally set for around 2:29 AM the following day, was unexpectedly prolonged to share personal stories, culminating in the 24-hour news headquarters' comprehensive midnight news, which incorporated elements of KBS Newsline and KBS Closing News before concluding that day's transmission. Over the course of five hours, 29 families were reunited, beginning with the first reunion of a sister, and the broadcast concluded with a poignant moment showcasing another family's reunion, highlighting a total of twenty-eight families.

The broadcast on that day was limited in its ability to showcase only a fraction of the pre-registration members. Hosts, including Yoo Cheol-jong, concluded the program with an apology, indicating that the broadcasting station would allocate time the following week to introduce the remaining members. For an additional three minutes, the screen displayed placards held by separated families, highlighting the uncertainty of future broadcasts. Consequently, KBS headquarters decided to implement continuous live coverage the next day. All cast members and unintroduced separated families moved from the audience to the stage, displaying their placards for the camera.

The special live broadcast aimed at reuniting separated families unfolded over five consecutive days and nights, achieving an impressive viewership rating of 78%. This remarkable success for KBS, particularly KBS1, is noteworthy, especially considering the prevailing attitude of complacency following the 1980 media merger, which led to a belief that second place was acceptable given the limited competition. A gathering of approximately 500 individuals was convened during this period.

July 1 - July 10, 1983: Emergency broadcast relay

Day 1:

On the early morning of July 1, 1983, prior to dawn, over 10,000 families who had been separated gathered in a lengthy queue outside the KBS main building. These individuals included those who had missed the previous day's broadcast and others who hurried to the station in hopes of participating. Their purpose was to register with the broadcasting station in Yeouido, leading to a crowded open hall filled with people. Due to the overwhelming demand from separated families, which disrupted regular operations, KBS's programming chief decided to cancel the scheduled programming for the following Friday night and extend the live broadcast for an additional day. Although the number of lines was increased from ten to fifteen, this was still insufficient to accommodate the crowd. The same relay team, consisting of Yoo Cheol-jong, Lee Ji-yeon, Son Seok-gi, Hwang In-woo, and Yoo Ae-ri, who had worked tirelessly the previous night, continued their broadcast efforts. Additionally, announcer Won Jong-bae, known for hosting the Sarangbang relay from 1983 to 1993, was assigned to assist in the central hall alongside Yoo Ae-ri.

On the first day, the initial studio in the public hall became overly congested, prompting the use of the central hall within the KBS main building, which remains an awkwardly designed space. The NHK Yoyogi Center was initially conceived and constructed by a skilled team of technicians who intended to create six studios in a revolver configuration, allowing for simultaneous movement of a large three-dimensional tool. However, during a staff field trip to Europe, higher management intervened, altering the design, resulting in a space that is neither a lobby nor a hall, characterized by its uncomfortable dimensions and featuring a few cafes and an open radio studio. With the establishment of KBS Hall, a more suitable performance venue located behind the new building, the central hall has lost its relevance. Seating arrangements were made, and two-way broadcasting commenced in Yeouido, leading to reports of many viewers staying up all night to watch the show, subsequently arriving late to work the following day.

Day 2:

Anticipating the show's potential success, KBS enlisted all of its prominent announcers. After MC Yoo Cheol-jong and announcer Lee Ji-yeon endured two consecutive nights of broadcasting until Saturday morning, they were unable to continue, leading to the introduction of alternate hosts Kim Dong-gun and Shin Eun-kyung after 40 minutes of news and other segments. Saturdays featured an all-day programming schedule, contrasting with the weekday broadcasts that typically ran from 5:30 AM to 10 AM and from 5:30 PM until midnight, with a three-hour break in between. During this interlude, viewers encountered only static or color bars on their screens. The all-day format was reserved for Sundays, public holidays, and special live events, such as disaster coverage or significant ceremonies, which were broadcast without interruption. KBS had previously suspended regular programming, aside from a brief noon news segment, to air live coverage of separated families. Unlike the current five-day workweek, Saturdays were considered 'half-days' with morning work and classes, and the Nolto culture would not emerge until 2005. Consequently, viewer ratings surged dramatically that day.

This event represented a significant breakthrough for program planners. An examination of the broadcast records from that period reveals that the television show format, which relied on cue sheets, quickly became irrelevant from the outset, resembling a continuous stream of broadcasting mishaps. Viewers fixated on their screens, hoping to catch a glimpse of their missing relatives, while even those without personal stakes found themselves reacting emotionally, applauding and weeping at unexpected moments, creating a poignant real-time narrative. The deep-seated human drama, marked by 33 years of unresolved feelings, rendered any cue sheet unnecessary. In fact, the broadcast on that day was the most disordered of the entire series, with the production team's shouts and various background noises contributing to an atmosphere of chaos.

The weekends of July 2nd and 3rd attracted significantly more viewers than weekdays, leading to throngs of people gathering outside KBS buildings nationwide. Many camped overnight in front of the broadcasting station, foregoing food and sleep, while hosts and production staff remained on-site, subsisting on kimbap to sustain the broadcast. Over these two days, excluding a one-hour break for news updates, the program aired continuously for nearly 21 hours, from 10 PM to 7:30 PM the following day. Consequently, as exhausted separated families lingered at the broadcasting station, a resident from Seodaesin-dong in Busan undertook a 12-kilometer run in the middle of the night to the KBS Busan Broadcasting Station in Choryang-dong, bringing with him 500 bottles of Bacchus to share.

Day 3:

The public document from the Ministry of Foreign Affairs reveals that the Chun Doo-hwan administration aimed to exploit the existing situation, resulting in a notable change in the tone of broadcasts from that day forward. In contrast to the initial presentation, both the opening and closing remarks began to apply considerable pressure on North Korea, particularly highlighted in the concluding statements. Additionally, from this point onward, two or three military personnel were introduced as part of the cast, likely in response to a collaboration request sent to military units through the Ministry of National Defense. Among those featured were two non-commissioned officers, including a sergeant major from a turbulent area in Jeollanam-do and another from the front lines. Despite the emotional significance of reuniting with their families, they consistently expressed their gratitude towards "His Excellency President Chun Doo-hwan," as well as the regimental and division commanders, while saluting them. The siblings, who were shown cheering and embracing each other, also made an appearance that afternoon.

Day 4:

At 9 AM on July 4th, the broadcast commenced, coinciding with the 11th anniversary of the July 4th North-South Joint Statement. This initial segment featured a poignant commentary and showcased the emotional reunions of families separated for years. The opening sequence was underscored by Kwak Soon-ok's song "Who doesn't know this person?", which set a heartfelt tone, later transitioning to Seol Woon-do's "Lost 30 Years" following the regular broadcast.

The atmosphere during the broadcast was chaotic, as recalled by MC Yoo Cheol-jong. However, as the event progressed, coordination improved between KBS headquarters and regional stations, leading to a more streamlined operation. The previous day's broadcast had achieved a remarkable 78% viewership rating, capturing the attention of high-ranking officials and the nation. Over the next few days, announcers and production staff from regional stations adapted to the demands of the broadcast, working diligently to connect families, while the production director in Seoul maintained strict control over the proceedings.

Day 5:

Day 5 of the broadcast featured segments from the 8000s (Seoul) that had not been previously showcased. The hosts paused during the closing remarks to connect with a regional station, allowing for the introduction of another family. From this point onward, Seol Woon-do's "Lost 30 Years" was incorporated as an insert song. Notably, the hosts began reading their opening and closing comments while holding manuscript papers, indicating a scripted format. The commentary highlighted that the 4th or 5th day of the broadcast coincided with the 11th anniversary of the July 4th South-North Joint Statement, providing a timely opportunity for the host to critique North Korea. This led to several instances where enthusiastic cast members, during live broadcasts, expressed their frustrations with remarks such as, “Kim Il-sung, you XXX, do you know the pain of our nation?” and “Why do we have to suffer like this because of those bad communists?” These outbursts reflected the deep-seated anger and sorrow of separated families.

The significant demand from separated families led to the rebroadcasting of recorded tapes on VHS at the KBS Yeouido headquarters and in the lobbies of regional broadcasting stations. During this period, there were no regional public hearing channels or Internet VOD options available. The live VHS rebroadcasts were restricted to specific daytime and late-night slots due to the broadcasting station's internal crowd control limitations. Consequently, KBS 2TV temporarily suspended its regular programming to accommodate these rebroadcasts, which were marked with a fixed subtitle indicating the recorded content. While there was a public hearing relay broadcast, it was relatively uncommon. Additionally, KBS Radio 1 (HLKA) provided a separate broadcast for separated families, facilitating reunions for over 70 families.

Day 6:

Day 6 featured Seol Woon-do's song "Lost 30 Years" as both the title and insert song, accompanied by narrations from the 1980s that now evoke a sense of cringe. This broadcast significantly intensified black propaganda efforts aimed at punishing North Korea, reflecting the bleak realities of the military dictatorship. Prominent officials, including Yoo Chang-soon, the President of the Korean Red Cross, and Son Jae-sik, the Minister of Unification, made appearances. Yoo Chang-soon, a displaced individual from Anju in South Pyongan Province, received enthusiastic applause from the audience, highlighting the public's interest in the movement to reunite separated families.

From that point forward, KBS 1TV and 1 Radio initiated simultaneous live broadcasts. "It can be received in China and the Soviet Union via shortwave radio." However, in Korea, access was largely restricted to HAM operators, journalists, or National Intelligence Service agents until 1995, with KBS1R continuing shortwave broadcasts until 2007. The remark, "I like it," was made in jest. Although announcers claimed the broadcast reached North Korea, it is improbable that it was actually received, given the occasional derogatory remarks about Kim Il-sung and accounts of abductions by the People's Army, alongside North Korea's ongoing jamming of all broadcasts directed towards it. Following the conclusion of the sixth day of broadcasting, an additional segment aired from 10 AM to 9 PM on Radio 1.

Day 7:

Following the seventh day, the regime's propaganda heavily emphasized the narrative of family reunions, particularly among blood relatives separated during the Korean War. This was achieved by interspersing scenes from war documentaries with live broadcasts, accompanied by melancholic background music. In instances where families had been divided due to post-war hardships or simple domestic disputes, the approach was notably impersonal, focusing solely on verifying identities and collecting contact information. As the broadcast continued, rather than evoking tears, moments of frustration emerged among guests questioning why they had not sought each other out, alongside instances of unintended humor that elicited laughter from the audience, showcasing a complex human experience.

Moreover, the government enacted a resolution to elevate the search for separated families into a nationwide initiative akin to the Saemaul Movement. Consequently, individuals who had previously submitted applications to KBS were required to reapply. Applications were accepted at various civil service offices, police stations, and KBS headquarters in Yeouido, with new submissions compiled into a book and displayed at public offices and the KBS meeting plaza. As the Yeouido Plaza became increasingly congested, a designated 'Meeting Plaza' was established at the site of the current KDB Industrial Bank, allowing staff and myself to observe the developments firsthand.

Day 8:

Beginning last night, MCs Yoo Cheol-jong and Lee Ji-yeon led the morning broadcast, followed by Kim Dong-gun and Shin Eun-kyung hosting the afternoon segment the next day starting at 9 AM. The absence of programming on Sunday afternoons is attributed to the National Singing Contest, a dominant entertainment show that commands high viewership ratings, often interrupting live broadcasts of family reunions. Notably, this occurred prior to Song Hae's tenure as the MC, which began in 1988. On this particular day, a satellite connection was established between Los Angeles and KBS headquarters in Seoul, facilitated by ABC Broadcasting Company in the United States. As detailed in the broadcasting technology section, KBS lacked the capability for three-way broadcasting prior to the advent of satellite technology. Consequently, the families were able to reunite via satellite, culminating in a poignant moment where a daughter in Korea expressed her longing to touch her mother’s face in the U.S., a scene that begins at 48 minutes and 16 seconds into the broadcast. This emotional reunion was later referenced in the film Ode to My Father.

At the conclusion of the broadcast, political reporter Yoon Deok-su makes another appearance following President Chun Doo-hwan's unannounced visit to KBS that afternoon. Contemporary news reports indicate that Chun frequently conducted surprise visits to military installations, government offices, and local administrations, a strategy commonly employed by heads of state to enhance visibility and public engagement. This approach effectively captured national attention. Subsequently, the primary MC system featuring Yoo Chul-jong and Lee Ji-yeon was established, along with alternate MCs Kim Dong-gun and Shin Eun-kyung.

July 15, 1983 - November 14: Live broadcast with regular programming

KBS transitioned the live broadcast of its program focused on reuniting separated families into a regular series, primarily airing on Friday nights and offering continuous broadcasts throughout the weekends. The network also maintained regular programming via radio and other platforms. In terms of television, there appeared to be no designated time slots for these broadcasts; rather, they were scheduled whenever time allowed. Typically, these programs were aired during off-peak hours, specifically between the conclusion of morning shows and the commencement of evening broadcasts, as well as from approximately 10 PM until early the following morning. Special live broadcasts were organized for four days surrounding Liberation Day on August 15 and prior to Chuseok. All broadcasts were recorded and made available for viewing at the KBS public hall, with Dr. Yoo Cheol-jong actively promoting the initiative. Consequently, this relay broadcast achieved a remarkable total of 453 hours and 45 minutes of continuous live coverage by November 14 of that year, a record recognized by the Guinness Book of World Records that remains unbroken to this day.

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This post has grown quite lengthy and is likely to expand further if I continue, therefore, the content related to this album will be divided into two or three parts due to the substantial information regarding the event for which this album was created.

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cosmosbeelover · 3 months ago

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The History of Korean Male Soloists from the 20th Century: Episode 3.5/?

This section explores the ongoing journey of Kim Saeng-ryeo, focusing on the orchestras he established and participated in throughout his career. In the first part, I discussed his life and professional achievements.

Kyungsung Welfare Chamber Orchestra

Gyeongseong, which can also be spelled as Kyungsung, refers to the same Welfare Chamber Orchestra.

The Kyungsung Welfare Chamber Orchestra (경성후생실내악단; 京城厚生室內樂團), originally established as the National Music Popularization Corps (국민총력조선연맹; 國民音樂普及挺身隊), aimed to disseminate quality music and its artistic values to the public. This pro-Japanese ensemble was created to support the welfare initiatives of the Government-General of Korea (朝鮮總督府), performing in diverse settings such as educational institutions and various production areas, including agriculture, industry, and fishing, to provide uplifting music to the community.

Members of the Gyeongseong Chamber Orchestra in the 1930s.

This chamber orchestra, established in 1942, comprised musicians who had previously performed with the New Beijing Symphony Orchestra, which originated in Manchuria. At its inception, the orchestra was conducted by Kim Saeng-ryeo, with notable members including Kim Seong-tae, Kim Cheon-ae, Lee In-beom, Kim Tae-yeon (김태연), Lee Yu-seong (이유성), Lee In-hyeong, Park Pyeong-su (박평수), Lee Yong-cheol, Ahn Seong-gyo, and Lee Kang-ryeol (이강렬). Following its reorganization in 1944, Hyeon Je-myeong took on the role of chairman, while Kim Won-bok, Yun Ki-seon, Lee Heung-ryeol (이흥렬), Jeong Hee-seok (정희석), Lee Gyu-yong (이규영), Na Un-yeong (나운영), Jeong Yeong-jae (정영재), Kim Yeong-ae (김영애), and Lee Jong-tae (이종태) continued to contribute as active members.

He performed at the Music Patriotic Concert organized by the Joseon Music Association under the Japanese Government-General. In 1944, he travelled to Manchuria to help integrate the Welfare Chamber Orchestra into the New Symphony Orchestra. As a result, he was listed in the music section of the Dictionary of Pro-Japanese Figures compiled by the Institute for Research in Collaborationist Activities in 2008.

In February 1943, the orchestra, backed by the National Mobilization Association of Korea, organized a national music concert at Bumin Hall (부민관). During its inaugural year, the orchestra conducted a total of 152 performances over eight months, which included 36 general concerts, 46 school concerts, 19 consolation concerts for industrial soldiers, 44 consolation concerts for the military, and 7 additional concerts. In acknowledgment of its contributions, the Gyeongseong Welfare Chamber Orchestra was awarded the 5th Joseon Arts Award (朝鮮藝術賞) by Shin Taiyosha (新太陽社) in Japan in May 1945.

Lee In-beom, Kim Seong-tae, Kim Cheon-ae, and Lee In-hyeong appearing in the advertisement for the Gyeongseong Welfare Chamber Orchestra. 경성후생실내악단의 광고에 나오는 이인범·김성태·김천애·이인형

Activities

The Kyungsung Welfare Chamber Orchestra has a rich history of performances, beginning with its inaugural concert on June 11, 1942, followed by a second concert on December 24 of the same year. The orchestra continued to showcase its talent with a third concert and a Japanese National Music Concert on February 24, 1943, and a solo performance by Kim Cheon-ae in April 1943. Notable events included a patriotic chamber symphony night dedicated to a battleship on June 29-30, 1943, and participation in the Song of the Peninsula Liberation Day Concert on August 3, 1943. The ensemble also organized an open-air music and film night to commemorate the conscription system on the same day. In 1944, the orchestra toured mines and factories in North Hamgyong Province at the invitation of Cheongjin University, followed by concerts aimed at uplifting fishing villages and mining communities in Gangwon-do from August 12 to August 19. The Jeollabuk-do Industrial War Memorial Concert took place from August 22 to August 29, 1944, and the orchestra held its 11th concert from October 2 to 4, 1944. The year concluded with a Grand Concert from January 20 to 22, 1945, and a Hope Concert from March 23 to 25, 1945. The orchestra was honoured with the Joseon Art Award on May 8, 1945, and performed in China from May 5 to May 7, 1945, culminating in an evening of literature and music on August 1, 1945.

The National Music Popularization Corps/ Total Mobilization Federation

A pro-Japanese organization identified "When We Go to the Sea," "Battleship March," "The Power of Asia," and "National March Song" as key selections for the National Song Collection, promoting their performance across various regions. They established a singing guidance team known as the National Song Singing Movement Volunteer Corps, which was mandated to tour and perform these songs. The National Mobilization League, influenced by Western-oriented figures such as Hyun Je-myeong, Kim Seong-tae, Go Jong-ik (고종익), and Lee Heung-ryeol, played a significant role in advancing the Japanese name change policy implemented by the Government-General of Korea. This pro-Japanese entity was ultimately dissolved in July 1945, merging into the Korean National Volunteer Corps.

1977 Broadcast 50th Anniversary Commemorative Performance. In 1927, Gyeongseong Broadcasting Station was established and began radio broadcasting. This is generally considered to be the origin of broadcasting in Korea. This is a photo of the 50th anniversary commemorative performance in 1977.

Chosun Symphony Orchestra (조선교향악단; 朝鮮交響樂團)

The orchestra was established in 1940 through the reorganization of members from the Gyeongseong Orchestra and the Gyeongseong Broadcasting Orchestra. Directed by Park Gyeong-ho (박경호), it held its first concert in 1940 at Bumin Hall, featuring works such as Schubert's "Unfinished Symphony" and Beethoven's "Egmont Overture." Additionally, it premiered the dance drama "Heungbu and Nolbu," composed and conducted by Kim Seong-tae, which marked a significant development in dramatic music inspired by folklore. Shortly thereafter, the orchestra presented Kim Seong-tae's original work "Heungbu and Nolbu" under his direction, engaging in ambitious performances. However, the onset of the Pacific War ultimately led to the disbandment of the Joseon Symphony Orchestra.

People who led the Western music of Gyeongseong Broadcasting Station

In the photo is says Hong Jae-yu (Left) and Park Kyung-ho (Right). Below it says Gyeongseong Broadcasting Station (In Red) and Central Musicians Association 1927 (In Blue).

Kim Saeng-ryeo (김생려), along with Hong Nan-pa (홍난파) and Park Gyeong-ho (박경호), played a pivotal role in introducing Western music to Korea during the Japanese occupation and in the subsequent periods, including the Korean War. These three individuals endured one of the most challenging eras in Korean history, and despite facing censorship, destruction, and loss of their works, their legacy endures. Kim Saeng-ryeo was the last to continue his musical career until his death in 1995. Although their contributions are not widely recognized, many Koreans today continue to honour their achievements, particularly through performances of orchestral works created by them, highlighting the significant impact these artists had on the cultural landscape during a tumultuous time.

The inaugural broadcasting station in Korea commenced operations on February 16, 1927, following preliminary test broadcasts initiated in December 1924 by the Governor-General and the Chosun Ilbo. These early broadcasts included a test by Yangak, although detailed records of the Governor-General's broadcasts on the 9th and 10th remain scarce. Notably, Hong Nan-pa participated in the Chosun Ilbo's test broadcasts on the 17th and 18th, with documented evidence and photographs showcasing his violin performance.

The photo says ‘Special broadcast of the launch of the second broadcasting station with the Gyeongseong Broadcasting Station Orchestra and Isu’.

The introduction of Western music to Korea can be traced back to the 1910s, particularly through the efforts of Hong Nan-pa, aligning with a broader cultural exchange during that era. This music, referred to as Gukak or Changga, distinguished itself from children's songs, pop songs, and folk songs, appealing not only to Koreans but also resonating with Japanese audiences, indicating a successful integration of Western musical influences. In 1919, the Gyeongseong Music Friends Association was established, marking the inception of an orchestra. By 1926, prior to the country's opening, the Central Music Association was formed, which performed a celebratory piece for the inauguration of the Gyeongseong Broadcasting Station. During this period, Hong Nan-pa was studying in Japan, while key figures such as Park Kyung-ho and Mrs. Boots from Ewha Woman’s University (이화여자대학교; 梨花女子大學校) played significant roles. The Central Music Association was comprised of approximately 15 members, including notable musicians like Kim Hyeong-jun and Choi Ho-young, who contributed to its leadership. Mrs. Booth, a graduate of the Pittsburgh Conservatory of Music, was proficient in multiple instruments and significantly advanced the local music scene.

The trombone on the left was Park Geon-won (박건원), and the trombone on the right was Baek Byeong-gon (백병곤). The photo above is a performance scene taken when the group was first formed and broadcast.

The JODK orchestra made its debut on April 13, 1928, initiating a new era of music broadcasting. This ensemble, which began as an amateur group, was notable for being the first professional orchestra in the region to compensate its members. Among those involved were Park Kyung-ho and Hong Nan-pa, with around 18 musicians participating in performances two to three times monthly. In 1929, after returning from his studies in Japan, Hong Nan-pa witnessed a flourishing Western music environment. He dedicated himself to education at the Central Day-care Centre and revitalized the jazz band, which subsequently engaged in active broadcasting efforts.

The initial volume of Hong Nan-pa's extensive collection of 100 children's songs from the Joseon era was published, coinciding with a surge in music broadcasting activities at Gyeongseong Broadcasting Station. In 1931, Hong Nan-pa travelled to the United States for further studies, yet the foundation of his work remained intact, allowing him to return in 1933. During this period, a second Korean language broadcasting station was established, contributing to a more vibrant musical landscape.

From right to left of name shown in the photo -> Baek Myeong-gon (백명곤), Lee Jil (이질), Lee Byeong-sam (이병��), Kim Won-tae (김원태), Hong Sae-yu, Hong Nan-pa, Choi Ho-young (최호영), Kim Seong-sun (김성선) and Park Won (박원). Below it says -> ‘1929 Summer JODK Broadcast – Jazz broadcast in Seoul for the first time’ - From Mr. Nayoung Yoon's home page.

A trio of violinists, including Hong Seong-yu (홍성유) and Lee Young-se (이영세), emerged during this era, alongside notable musicians such as violinist Jeon Su-rin and clarinetist Kim Kyo-seong. These artists, along with drummers and other instrumentalists, were not only prominent composers but also integral members of broadcast orchestras and jazz ensembles. The distinction between classical music, popular music, and children's songs was increasingly blurred, reflecting a unique cultural moment where the categorization of music was less significant than the enjoyment it provided.

It is often believed that Hong Nan-pa exclusively performed children's songs and classical music; however, he also released popular songs under various stage names. Actively involved in both broadcasting and academia, he played a significant role in the establishment of the JODK Orchestra at the Gyeongseong Central Broadcasting Station, which was formed on April 13, 1935. This orchestra marked the beginning of extensive musical activities, enhancing the breadth and depth of the station's musical offerings. Notably, in 1985, the Korean music history published by the Korea National University of Arts acknowledged Hong Nan-pa's contributions alongside those of Chae Dong-seon (채동선) and others, highlighting their performances of orchestral works by Im Dong-hyeok and the emergence of creative music in Korea. His composition "The Heart of a Traveler" was particularly significant, as it was made possible through the efforts of this orchestra.

From left to right - > Hong Seong-yu, Lee Young-se and Hong Nan-pa Gyeongseong Broadcasting Station’s 1st performance – August 1933

A photograph capturing contemporary musicians, including Hong Nan-pa, Hong Seong-yu, Kim Won-bok, Hong Jae-yu, Hong Eun-yu, and Park Gyeong-ho, showcases their collaboration with Hyun Jae-myeong and Dokgo Seon at the broadcasting station. Hong Seong-yu and Kim Won-bok, a couple united by their passion for the violin and piano, gained fame as a duo through numerous concerts and activities. After studying in the United States, they adopted their current name in 1929. Hong Nan-pa also served as the first chairman of the Joseon Music Association, established in 1930 while he was a professor at Yeonhui University, and he earned a doctorate in vocal music in 1937.

From top left to bottom right -> Dong Ko-seon (독고선), Hyeon Je-yeong (현제명), Park Kyung-ho (박경호), Hong Eun-yu (홍은유), Hong Jae-yu (홍재유), Kim Won-bok (김원복), Hong Seong-yu (홍성유) and Hong Nan-pa (홍난파). Musicians who attended the Yunim Budda Concert – Na Woon-young’s Hall (홍성유님 부처 연주회에 참석한 온악인 나운영 선생님 홈에서). There is also another translation of this –> ‘At the home of Na Woon-young, a musician who attended Hong Seong-yu's Buddha concert ‘

Although Hong Nan-pa passed away prematurely, his legacy continued to flourish after Korea's liberation. He was instrumental in the founding of the Seoul National University College of Music and remained an influential figure in the music industry until his death in 1970. His connections in broadcasting extended to notable figures such as Chae Seon-yeop, Lee Heung-ryeol, Park Tae-hyun, and Hong Jong-in, further solidifying his role as a pivotal figure in the development of Korean music.

Gyeongseong Broadcasting Station Orchestra and Wang Su-bok (경성방송국 관현악단과 왕수복)

The musical endeavours of Gyeongseong Broadcasting Station were significantly impacted by the outbreak of World War II, coinciding with the death of Hong Nan-pa. Following his passing, Kim Saeng-ryeo, who had been assisting Hong as a conductor, assumed leadership of the Broadcasting Orchestra and appointed Gye Kye-sik as a temporary conductor. However, the arrival of Japanese conductor Eiji Nakagawa led to complications in the conducting process, reflecting the broader turmoil of the war, which rendered the activities of Gyeongseong Broadcasting Station increasingly futile during this tumultuous period.

The legacy of Hong Nan-pa looms large, overshadowing many contemporaries whose contributions remain less recognized, yet numerous individuals forged connections with Gyeongseong Broadcasting Station. Notably, figures such as Park Kyung-ho and Kim Saeng-ryeo played pivotal roles in this narrative. Park Kyung-ho was particularly influential in the station's musical landscape, especially during Hong Nan-pa's absence abroad, and he was instrumental in significant events such as the station's inauguration in 1927 and the celebratory concert for the second broadcast in April 1933, highlighting his central role in the station's history.

From left to right -> No Jeong-pal (노정팔), Park Kyung-ho (박경호), Ahn Ik-tae (안익태), hwa Jae-gyeong (활재경), Choi Chang-bong (최창봉). Park Kyung-ho's VOA days - 1957 – (박경호님 VOA시절 -1957년-)

Following the liberation in 1946, KBS assumed its current programming responsibilities, with Kim Saeng-ryeo serving as the planning manager. In June 1949, he made history as the first individual in broadcasting to undertake a six-month training trip to the United States, subsequently working with the Voice of America during the 1950s. Born in 1912, Kim was a student at Yeonhui College in 1939 under the direction of conductor Hong Nan-pa. After Hong's death in 1941, Kim took over the leadership of the Broadcasting Symphony Orchestra at Gyeongseong Broadcasting Station and continued to oversee the KBS Orchestra until after the liberation.

From left to right -> Lee Gye-won (이계원) and Park Kyung-ho (박경호). Park Kyung-ho's VOA days - 1957 – (박경호님 VOA시절 -1957년-)

Kim Saeng-ryeo's Memoir (from the 1977 edition of Korean Broadcasting System)

In the spring of 1939, during the JODK period, he assumed the position of conductor for the broadcasting orchestra, which initially comprised around ten members. Hong Nan-pa, previously known for his accompaniment work, was appointed as the music director of JODK. Following his appointment, he initiated an expansion of the orchestra by acquiring instruments from Japan, which led to an increase in membership to twenty-five. This development culminated in the live broadcast of the Haydn Mozart Symphony, marking a significant milestone as it was also transmitted to Korea.

The formal establishment of the professional orchestra is recognized as occurring on May 16, 1940, under the direction of Hong Nan-pa. The orchestra's repertoire included notable works such as "Spanish Night" by Bizet, "Humoresque" by Dvorak, "Golden Wedding Anniversary" by Marie, "Little Toy Soldier" by Rosey, "Dancing Doll" by Poldini, and "Objects of the Desert" by Zamenik.

Kim Saeng-ryeo (김생려)

Shortly thereafter, Mr. Hong Nan-pa fell ill, prompting my engagement as a contractor in 1944. I assumed Mr. Nan-pa's responsibilities and transitioned into a permanent role. Following his passing, I was appointed as a temporary conductor and subsequently became a full-time member of the broadcasting station. Additionally, we expanded our team by recruiting approximately 20 new members and sought opportunities for external performances, culminating in a 40-member orchestra supported by a budget for 25 full-time positions, which proved advantageous for JODK.

At that time, Onoda, a Japanese individual leading the business department, had studied conducting in Vienna under Eiji Nakagawa and was invited to serve as the chief conductor around 1942. Although we held high hopes for his leadership, our initial rehearsal left us disheartened. Nevertheless, around 40 musicians rallied behind Mr. Gye Jeong-sik, who endeavored to facilitate international performances. However, Onoda's nationalistic tendencies hindered these efforts, as he was reluctant to engage in public appearances, possibly due to personal sentiments.

Negotiations with Onoda occurred multiple times, with around 20 unpaid members participating in broadcasts under Eiji Nakagawa's direction. Despite his willingness to continue, he insisted that external performances be managed by an accountant, a request that was consistently denied. This marked the initial attempt to cultivate the Korean orchestra movement, which was initiated by a Japanese individual named Han, yet it faced inevitable challenges due to prevailing prejudices.

Double Broadcast Commemorative Performance - Sogong-dong Gyeongseong Public Hall - (2중방송 기념 공연 - 소공동 경성공회당-)

Ultimately, with the exception of approximately ten exclusive members, all individuals departed from JODK, leading to his resignation and withdrawal from the organization. The former members who left attempted to unite and establish a new orchestra; however, their efforts were unsuccessful. Consequently, the JODK Orchestra reverted to a ten-member ensemble, transforming into an accompaniment orchestra before ceasing to exist after August 15th, maintaining its current form since 1949.

The Seoul Symphony Orchestra, which served as the precursor to the city orchestra, was situated at the Jeongdong Broadcasting Station during this period. Under the guidance of American advisor Rolf Jacobi, a genuine broadcasting initiative commenced, marking the beginning of the symphonic movement.

The War of National Foundation (Movie)

This section discusses President Syngman Rhee, featured in a 2024 Korean independent film directed by Kim Deok-young. The documentary explores the historical significance of Rhee, the first to third President of the Republic of Korea, highlighting his efforts to rescue classical musicians from abduction by founding the 'Naval Military Music Band.'

Following Korea's liberation from Japanese rule in 1945, the peninsula was divided by the United States and the Soviet Union at the 38th parallel, leading to divergent ideological paths for the North and South. North Korea, influenced by Soviet communism, evolved into a repressive dictatorship that violated human rights and stifled freedom. In contrast, South Korea embraced liberal democracy under American influence. This film examines how two nations, sharing a common language, history, and culture, became polarized into vastly different states, emphasizing Rhee's pivotal role in shaping the Republic of Korea over the past seven decades.

youtube

1st Trailer

youtube

2nd Trailer

Evaluation

The film occupies a unique space between a biographical portrayal and a documentary focused on a historical event, presenting a nuanced interplay of broader societal changes and individual experiences. It diverges from the typical binary of good versus evil often found in Korean political narratives. Given its exploration of political figures and events, it inevitably elicits varied interpretations influenced by viewers' political affiliations, irrespective of the film's artistic merit.

Syngman Rhee, a figure marked by both significant achievements and controversies, has sparked polarized assessments; some argue the film prompts a reassessment of his legacy, while others contend it distorts historical facts. Critics have labelled the film as one that undermines Rhee's contributions, alleging it misrepresents the spirit of the March 1st movement and unduly glorifies pro-Japanese elements associated with the New Right, despite Rhee's clear anti-Japanese stance.

The discourse surrounding the film reveals a spectrum of opinions, from those who find merit in its message to others who deem it overly simplistic and biased, resulting in a stark division in public reception, as evidenced by emotional responses from viewers.

Establishing the 'Naval Military Music Band'

The film 'The War of National Foundation' is said to have exceeded 820,000 viewers by the 22nd, merely three weeks after its February 1, 2024 release. While it is customary to pay tribute to the founding president, discussions regarding President Syngman Rhee among Koreans are just beginning to emerge. However, an important narrative remains untold in the film; few are aware that President Rhee played a significant role in the advancement of high-level classical music, which is now celebrated by Koreans as a 'K-classic'.

This is a photo taken by the Jeonghun Music Band, which was founded during the war, during its Jinhae tour in December 1950. All members are wearing navy uniforms as naval personnel, which is unusual. Courtesy of Jeong Seong-yeop, Executive Director of the Republic of Korea Military Song Commemoration Association.

The outbreak of the Korean War in 1950 led to the fall of Seoul, forcing musicians to flee amidst the turmoil. In this chaotic environment, there was little support for these artists, compelling them to navigate their own paths. Conversely, Kim Il-sung recognized the strategic value of music for propaganda and invited Jeong Yul-seong, a member of the Chinese Communist Party, to North Korea, granting him the rank of Major in the North Korean Army. Jeong Yul-seong subsequently recruited and forcibly abducted musicians who remained in Seoul, resulting in the capture of many, including baritone Professor Kim Hyung-ro, who was married to Professor Kim Soon-ae, the composer of the Korea Military Academy's school song and known for "Because of You."

In response to these developments, conductor Kim Saeng-ryeo of the Seoul Symphony Orchestra and the era's leading soprano, Kim Cheon-ae, proposed the establishment of a military music corps to President Syngman Rhee. Despite resistance from various military branches due to operational priorities, Chief of Naval Operations Son Won-il, who understood the significance of music as his wife was an Ewha Womans University music graduate, successfully advocated for the initiative, leading to the formation of the 'Naval Military Music Corps' on October 1, 1950.

President Syngman Rhee meets with the Children's Press Corps in 1957. Courtesy of the Ministry of Patriots and Veterans Affairs.

A total of 130 musicians, both male and female, resided in the 'Bupyeong Inn', a distinctive three-story building shaped like the letter 'ㅁ' in Bupyeong-dong, Busan. This group was responsible for operating a symphony orchestra, a choir, and a creative department. Notable figures among them included composers such as Kim Dong-jin, Kim Seong-tae, Na Woon-young, and Yoon Yong-ha, along with conductors Kim Saeng-ryeo and Lim Won-sik. The ensemble also featured prominent musicians like violinist Ahn Byeong-so, cellist Jeon Bong-cho, pianist Baek Nak-ho, and vocalists Kim Cheon-ae, Lee In-beom, Kim Hye-ran, Hwang Byeong-deok, Oh Hyeon-myeong, and Ahn Hyeong-il. Their performances provided comfort and morale-boosting support to both troops and civilians.

Many of the musicians rescued from potential abduction by North Korean forces under President Rhee Syng-man have become foundational figures in the classical music scene of Korea, contributing to its rich heritage. This location was also the birthplace of Korea's first mixed professional choir. In 1957, the 'Navy Symphony Orchestra' rebranded itself as the Seoul City Symphony Orchestra, continuing its tradition as a leading musical institution. Additionally, it launched 'Jeonghun Music', Korea's inaugural music magazine. Following the recapture of Seoul on November 11, 1950, the 'Jeonghun Music Band' commemorated the Navy's fifth anniversary with a series of six concerts over three days at the 'Sigongwan' in Myeongdong, aimed at uplifting the spirits of UN forces and local citizens affected by the war.

The upcoming year will mark the 80th anniversary of the Republic of Korea Navy, established on November 11, 1945. This milestone raises the question of whether there will be a celebratory performance to honour the Navy's role in founding the Seoul City Symphony Orchestra. The unprecedented policy of safeguarding musicians during wartime is a significant aspect of history, and it serves as a reminder of President Rhee Syng-man's contributions to the arts and culture during a tumultuous period.

#south korea #history #korea #Korean Music #Korean Music History #Music History #Kim Saeng-ryeo #김생려 #photography #korean history #Youtube

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cosmosbeelover · 3 months ago

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The History of Korean Female Soloists from the 20th Century: Episode 3.5/?

This episode continues the narrative of Yun Sim-deok, focusing on the events following her death and the legacy of her music. It is important to note that this instalment is intended for a mature audience, as it will address sensitive themes related to self-exit.

"행복 찾는 인생들아 너 찾는 것 허무" (To those who seek happiness, your search is in vain) - Yun Sim-deok 'Hymn of Death'

Suspicion of death

During an album recording in Japan, Yun Sim-deok encountered Kim Woo-jin, who was preparing to study abroad in Germany. On August 3, 1926, the two unexpectedly boarded the Tokuju Maru, a ship bound for Busan. The following day, they vanished from the vessel, leading to significant media attention as it was reported as the first 'love affair' (情死) case in Joseon, although the true nature of their relationship remains uncertain.

Three key facts are established: first, both individuals boarded the same ship on August 3; second, on the morning of August 4, their cabin was found empty with only their belongings left behind; and third, a subsequent review of the passenger list revealed their absence. Despite media speculation about a possible suicide pact, no will or evidence was confirmed by family or friends, and no witnesses were present at the time of their disappearance. Consequently, the search for their bodies in the expansive ocean proved futile.

Upon the media's initial coverage of the incident, they reported that "the two individuals embraced and leaped into the sea after leaving a will," a narrative that has persisted over time. The families of Kim Woo-jin and Yun Sim-deok vehemently refuted claims of an "affair," likely motivated by concerns for their family’s reputation. They even contested the notion of suicide itself, further complicating the public's understanding of the events.

At that time, Kim Woo-jin had distanced himself from his family due to a conflict with his father and was in Japan, preparing for his long-desired studies in Germany. On August 1, he submitted his play, <Wild Boar>, to a magazine, expressing optimism about his future endeavours. Meanwhile, Yun Sim-deok was diligently working to fund her younger sister's education in the United States, with her sister's departure scheduled for August 5. After her sister arrived in the U.S., she learned of Yun's tragic death. Additionally, Yun had reached out to a friend in Tokyo, indicating plans to meet soon, raising the critical question of whether the two were indeed lovers, a topic that was only speculated upon in the media following the incident.

There is no concrete evidence to suggest that Kim Woo-jin (김우진) had romantic feelings for Yun Sim-deok (윤심덕); rather, any such inference is speculative and primarily drawn from his literary works. Jo Myeong-hee, a friend of Kim Woo-jin, dismissed the notion of their relationship as mere rumour, indicating it was not significant. Even if they had been lovers, the possibility of separation or remarriage exists, and there is no compelling reason to believe they engaged in an affair. The circumstances surrounding their departure to Joseon raise questions, particularly since they left no testament and informed no one of their journey. This has led to various theories regarding their fate, including the 'survival theory' suggesting they faked their deaths, the 'accident theory' involving a slip, and the 'murder theory.' Their dramatic demise fuelled speculation that they might have relocated abroad, especially concerning Kim Woo-jin's alleged affair, with claims that they staged their deaths to escape together. Additionally, there are claims that Yun Sim-deok may have conspired with her record label to fake her death to promote her album. Notably, no witnesses were present at the supposed suicide, and the bodies were never recovered. However, the passenger list did indicate residences matching those of Kim Woo-jin (김우진) and Yun Sim-deok (윤심덕), and both were 29 years old at the time, confirming their presence on the ship, albeit under the names Kim Su-san (김수산) and Yoon Su-seon (윤수선).

There were persistent rumours suggesting that the two individuals did not perish but instead escaped to Europe. Allegedly, they bribed the sailors aboard the ship to fabricate a suicide narrative, subsequently traveling to China and adopting Chinese identities to reach Europe. As the popularity of <Ode to Death> remained strong, these rumours proliferated. In 1931, speculation arose that an Asian couple operating a general store in Italy were, in fact, Kim Woo-jin and Yoon Sim-deok, with specific names and locations being cited. Kim Woo-jin's younger brother sought verification from the Japanese embassy in Italy through the Governor-General's Office, which reported that no such individuals were found in Rome but would continue their search. In 1934, a man claiming to be the grandson of Kim Ok-gyun asserted he had encountered Kim Woo-jin and Yoon Sim-deok, who were purportedly musical instrument dealers in Rome. However, this claim was later debunked as false. Ultimately, the notion that they faked their deaths lacks credibility, as it would have been more logical to use their real names rather than pseudonyms.

In examining the case of Kim Woo-jin, Professor Yang Seung-guk from Seoul National University deemed the likelihood of an affair to be minimal, attributing more credence to the theory of suicide, which he posited was likely impulsive and possibly induced by Yun Sim-deok. The prevailing narrative within recent literary analyses categorizes Kim Woo-jin's death as either a suicide or an accident, while music critic Kang Heon has introduced the notion of murder, implicating Nitto Records, the label that had acquired Yun Sim-deok's album. This company, a subsidiary of the Japanese state-run Nitjiku, was relatively obscure at its inception in 1926, especially compared to more prominent labels like Columbia and Polydor, and it ceased operations by 1928. Notably, the song "Sa-ui-hyeomi," (사의혜미) which became the album's lead track, was not initially intended for release by Yun Sim-deok; her brother, who accompanied her on piano during the recording, refuted claims that she had requested it, suggesting instead that it was an unexpected addition. This has led to speculation that the circumstances surrounding her death may have been orchestrated by the Japanese company to enhance sales of records and gramophones in the Joseon market.

This is a newspaper clipping about Yun Sim-deok published in 1973 February 14th. 演藝手帖半世紀(연예수첩반세기) 歌謠界(가요계) (8) 尹心愿(윤심덕)의 情死(정사) 「광막한황야 달리는人生(인생)」,愛人(애인)과 현해탄에죽은뒤 [死(사)의찬미 」流行(유행)----日業者(일업자) 크게致富(치부) 한국에 들어온 日本(일본)의 레코드資本(자본)을 크게 도와준것은 익살맞게도 尹心悳(윤심덕)의 「死(사)의 찬미」 였다. 「玄海灘(현해탄) 激浪(격랑)중에 青春男女(청춘남녀) 情死(정사)」「藝術(예술)에 共鳴(공명)되야 八年(팔년)전사랑의 싹」一九二六年八月三日(일구이육연팔월삼일) 관부연락선 「德壽丸(덕수환)」에서 발생한 美人(미인)가수 尹心愿(윤심덕)과 극작가 金祐鎭(김우진)의 세기적 情死( 정사)사건을 당시 신문들은 이렇게 連日(연일) 대서특필했다. 尹心愿(윤심덕)과 金祐鎭(김우진)은 이날오전十一(십일)시 [시모노세끼」를 떠 나는 「德壽丸(덕수환)」에 올랐는데 이날 오후四(사)시 배가對馬島(대마도)근해 를 지날 무렵 현해탄에 몸을 날려 자살했던것이다. 土月會(토월회)의 멤버였고 同友會(동우회)의지방공연에서 갈채를 받았던미모 의 新女性(신여성) 尹心愿(윤심덕)의 난데없는 죽음은 사회에 큰충격을 주기에 충분했다. 一八八九年(일팔팔구년) 平壤(평양) 태생인 尹心惠(윤심덕)은 平壤女高普(평양여 고보)와 京城女高普師範科(경성여고보사범과)를 마친후 江原道(강원도)에서 잠 시 교편을 잡았다. 一九一七年(일구일칠년) 총독부의 官費(관비)유학생으로 東京音樂學校(동경음악학교)를 마친후 모교인 京城女高普(경성여고보)(현재의京畿女高(경기여고))에서 음악교사를했지만 곧 그만두고 聲樂(성악)연마와 레코 드취 입을 하는한편가끔 京城放送局(경성방송국)에 출연하기도했다. 그녀는 正統(정통)코스를 거친 순수음악인이었지만 니또레코드 京城支店長(경성지점장)을 겸하고 있던 朝鮮蓄音機商會(조선축음기상회)주인李基世(이기세)의 끈질긴 설득으로 유행가를 취입하기에 이르렀다. 취입을 승낙한 尹心愿(윤심덕)은 七月十七日(칠월십칠일) [니또] 레코드本社(본사)가 있는 「 오사까」(大阪(대판))로 갔다. 이때의 레코 드는 앞뒤에 한곡씩 녹음하는 것이었는데 취입하는 김에 +(십)여곡 을 넣기로하고 관부연락선을 타기위해 七月十七日(칠월십칠일) 京城(경성)에서 釜山行(부산행) 기차를 탔다. 이날 京城驛(경성역)에는 李基世(이기세)와 李瑞求( 이서구)씨(작가·당시 [니또] 레코드문예부장)그리고 南相ㅡ(남상일)씨(현合同通信理事(합동통신이사) 당시 東亞日報(동아일보)정치부기자)가 그녀를 전송하 러 나왔다. "모두 즐거운 분위기였죠. 취입 잘하고 돌아 올땐선물로 고급 넥타이나 사오라고 했더니 「죽어도 사와요?」 하고 말하고는 또 쾌활하게웃더군요. 그래 [죽으려거 든넥타이나 사서 부치고 죽어」 하고 농담을 했거든요. 그러고보니 그것이 마지 막이었읍니다. "(李瑞求(이서구)) 尹心愿(윤심덕)은 日本(일본)왕래가 많았기때문에 인솔자없이 혼자떠났다. 취입 을 마치고도 돌아오지않았지만 京城(경성)에서는 취입료를 두둑이 받았을테니푹 쉬고오나보다 모두들 생각하고 있었다. 七月末(칠월말)께 李基世(이기세)는 여섯장의 레코드 테스트판을 받았다. "이것이 尹心愿(윤심덕)의 취입판이었는데 예정보다 -(일)장이 더많더군요. 그 래 틀어봤더니 그것이 바로 「死(사)의 찬미」 였읍니다. 예정에도 없던 曲(곡)이 어서이상하다 했는데 노래가 상당히 서글프더군요. "그리고季瑞求(계서구)씨는 「死(사)의 찬미」의작사자가 미상이라는 일부 주장에 대해 尹心息(윤심덕)본인 의 작사가 틀립 없다고 토를 달았다. 그녀가 투신자살한 것은 테스트판이 도착된 며칠후였는데 八月十日(팔월십일)경 李瑞求(이서구)씨와 南相ㅡ(남상일)씨에게는 소포가 한개씩배달돼왔다. "그게 바로 尹(윤)이 보낸 넥타이였지요. 갖가지 감회가 가슴을 찔렀는데 차마 매 고 다닐수가 없어 장롱속에 넣어뒀어요. 피난통에 까맣게 잊었었는데 작년에 책 을 정리하다 책갈피속에서 이 넥타이를 찾아냈어요. "파란 실크넥타인데 李瑞求( 이서구)씨는 결국 四十七年(사십칠년) 동안을 보관하고 있었다는 이야기다. 「광막한 황야를 달리는 인생아….」로 시작되는 이노래는 「이바노비치] 작곡 의 「다뉴브江(강)」에 가사를 붙인것으로 「와세다」 출신 극작가와 소프라노 新女性(신여성)간의 전설적인사랑과 함께 레코드는 불티나게 팔려나갔다. 그녀는 이전에도 日本(일본)축음기 회사에서 「어엽뿐 색시」「매기의 추억」「나와 너 」「아 그것이사랑인가」「망향가」「방끗웃는 월계화」 등 가곡을 취입했었 지만 유행가는 이것이처음이었다. 제비표 [니또] 레코드에서 흐느끼듯 흘러나오는 「死(사)의 찬미」가 히트하자 이제까지 부유층의 재산목록에속하던 유성기와 소리판은 쉽게 대중속에 파고들 수 있게됐다. 「死(사)의 찬미」는 流行歌(유행가)의 보급뿐아니라 우리나라에 상륙한日本(일본)의 레코드 자본을 살찌게하는 결과를 가져온것이다. (李吉範(이길범)기자>

Yun Sim-deok and Kim Woo-jin's disappearance after August 4, 1926, remains a significant event. Notably, playwright Lee Seo-gu, a close friend of Yun, recounted a poignant farewell at Gyeongseong Station prior to her departure to Japan for an album recording. Their exchange included a light-hearted promise regarding a gift, where Yun asked what she should bring back for Lee, who requested a tie. Their banter took a darker turn when Yun jokingly inquired if Lee would still want the tie even in death, to which Lee affirmed he would. This conversation, while playful, took on a sombre tone following Yun's tragic passing, as the tie Lee had requested arrived shortly after the news of her death, remaining unworn until Lee's own demise.

Mediatization and Legacy

The romantic relationship between Yun Sim-deok (윤심덕) and Kim Woo-jin (김우진) has inspired numerous theatrical productions and films long after their passing.

The initial cinematic adaptation of the story was the film <Yun Sim-deok>, released in 1969 and directed by Ahn Hyun-chul. The principal characters, Kim Woo-jin and Yun Sim-deok, were portrayed by Shin Sung-il and Moon Hee, respectively, while supporting performances were delivered by Lee Soon-jae (이순재), Baek Yeong-min (백영민), Joo Jeung-nyeo (주증녀), and Han Eun-jin (한은진). This film notably features the pivotal encounter between Kim Woo-jin and Yun Sim-deok, culminating in the dramatic moment when they leap into the Korea Strait.

In 1991, the film "In Praise of Death," (사의 찬미; 死의 讚美) directed by Kim Ho-seon, depicted the poignant love story of Yoon Sim-deok, featuring performances by Jang Mi-hee as Yoon Sim-deok, Im Sung-min as Kim Woo-jin, and Lee Kyung-young as Hong Nan-pa, alongside Jo Min-ki and Kang Gye-sik. Jang Mi-hee received the Blue Dragon Film Award for Best Actress for her portrayal, while Im Sung-min was honored with the Best Actor award. Following this film, Kim Ho-seon directed "Annie Gang," which generated significant attention in the Korean film industry by reuniting Jang Mi-hee and Im Sung-min. Notably, "In Praise of Death" represents one of the final works produced by the traditional Chungmuro film community from the 1950s.

Reporter Jeong-cheol Shin = Tongyeong City will perform 'Ode to Death', the third civic cultural center planned performance of the year, based on the love story of Joseon's first soprano 'Yun Sim-deok', called the greatest scandal of the 20th century, and genius playwright 'Kim Woo-jin', a pioneer of Korean theater. The photo is the performance poster. (Photo = provided by Tongyeong City). 2023.10.07.

The musical and theatrical adaptation debuted in 1988, presented by Yoon Dae-seong as a play titled Hymn of Death through an experimental theatre company. It was subsequently staged as a musical in 1990, and the 2005 rendition featured singer Bada in the role of Yoon Sim-deok, generating significant public interest. In 2012, the narrative was expanded to include a storyline about Yoon Sim-deok and Kim Woo-jin in a musical named Gloomy Day, which was later re-staged in 2015 under the original title Hymn of Death. In 2016, the play "The Ferry of the Kings" was introduced, portraying a scenario where only Kim Woo-jin (김우진) perishes while Yoon Sim-deok is saved by the protagonist, who is depicted as departing for Rome to pursue her true aspirations while concealing her survival, reflecting the aforementioned survival theory.

The drama ‘Hymn of Death’ was broadcast on SBS starting November 27, 2018, consisting of six one-act episodes. It was shown twice daily over a span of three days, resulting in a total of six segments rather than three. The episodes aired on November 27, December 3, and December 4. In this production, Shin Hye-sun portrayed Yoon Sim-deok, while Lee Jong-suk took on the role of Kim Woo-jin.

In the 2022 Apple TV+ series Pachinko, a character inspired by Yun Sim-deok (윤심덕) is featured. The protagonist, Seon-ja, boards the Tokuju Maru to reunite with her husband, Isaac, in Osaka. During this journey, a glamorous singer retrieves a shawl that Seon-ja has dropped, expressing her appreciation by mentioning a cherished gift from her lover and promising to perform for Seon-ja at her concert that evening. While Seon-ja, who is pregnant, endures the harsh realities of third-class travel, the singer indulges in luxury, only to face sexual harassment from a powerful Japanese man nearby.

When the singer takes the stage, she begins with the soprano aria "Let Me Cry," but unexpectedly shifts to a line from Chunhyangga, provoking outrage among the Japanese audience. The situation escalates as the enraged passengers summon the police, prompting the singer to take her own life with a concealed knife upon seeing the authority’s approach. Although this portrayal diverges from Yun Sim-deok's actual life, the character's essence and thematic elements appear to draw inspiration from her story.

Additionally, the character is depicted alongside Kim Woo-jin (김우진) in the series Joseon, the Age of Revolution. In this narrative, they are shown contemplating the artworks of Pierre-Auguste Renoir, which are part of Emperor Gwangmu Yi Seon’s collection. The series emphasizes their struggles with familial and societal expectations, framing them as artists rather than romantic partners. Their tragic fate is contextualized within the broader narrative of colonial youth suffering under Japan's oppressive regime, offering a poignant commentary on historical realities rather than adhering strictly to official accounts.

Posthumous Albums

In the Korean pop music scene, numerous artists experience cycles of prominence and obscurity. While some manage to sustain their relevance through memorable tracks, others fade into obscurity over time. Particularly poignant are the cases of artists who produced remarkable music yet died prematurely. Their enduring songs serve as a poignant reminder of their legacy, evoking nostalgia among listeners. Younger musicians often honour these late artists by performing their songs, and dedicated fans engage in memorial activities long after their passing.

The music left behind by these artists is preserved, ensuring their contributions endure. Yum Sim-deok stands out as a significant figure in the annals of Korean pop music, having created impactful hits before her untimely death at a young age. Notably, she is recognized as one of the earliest artists to have a posthumous release, with her final works emerging after both her and her lover's deaths.

Discovering the Hymn of Death Album

In 1926, she journeyed to Japan to record an album, driven by the intention to support her younger sister's education in the United States. Among the pieces she recorded was the famous "Hymn of Death," which featured newly written lyrics set to the melody of Iosif Ivanovich's waltz "Ripples on the Danube." Notably, "Hymn of Death" was not her original selection; reports indicate that she made the decision to include it spontaneously during the recording session. The song achieved significant commercial success, with sales reaching around 100,000 copies at the time of its release and in the years that followed, a phenomenon likely amplified by her premature passing. This evocative piece, which contemplates the theme of mortality, was recorded before she had the opportunity to experience its official launch. Furthermore, six months before this session, she had reimagined Schubert's "Wild Roses" and "Linden Trees" into "Laurel Flowers" and "Old Dreams," with these recordings being discovered in late April 2022.

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In the realm of Korean popular music, the intense public fascination and reaction to a singer's premature death and subsequent works can be traced back to Yun Sim-deok's "Ode to Death." Yun Sim-deok (윤심덕), who pursued classical vocal training in Japan but ultimately performed popular music to sustain herself, and Kim Woo-jin, a member of a prominent family in Jeolla Province and a key figure in the new theatre movement, tragically took their lives together in 1926 by leaping into the sea from a vessel en route between Shimonoseki, Japan, and Busan. At the time, she was only 29 years old. Their relationship, characterized by the complexities of a new woman entangled with a married man during the Japanese colonial era, highlights the tragic limitations imposed by class and social structures. Nevertheless, the profound sense of emptiness expressed in her music has continued to resonate deeply with the Korean populace long after her death.

Iosif Ivanovich

Before discussing Yun Sim-deok's rendition of 'Hymn of Death,' it is important to briefly address the original composer of the piece, Iosif Ivanovich.

Born in Romania in 1845 and dying on September 28, 1902, at the age of 56 or 57, he was a prominent military bandmaster and composer known for his light music. Although originating from a Balkan country somewhat distant from Austria, the heart of the waltz tradition, he is recognized for a unique and exceptional composition.

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His notable works include the waltz "Ripples of the Dunare" (Valurile Dunării) and the waltz "Carmen Sylva." Additionally, his great-grandson, Andrei Ivanovich, born in 1968, has gained international recognition as a pianist and remains active in the music industry, reflecting a familial connection to his great-grandfather's legacy.

The ripples of ‘Dunarea’

The Dunărea, known as the 'Danube' in English and 'Donau' in German, is often referred to by the German name 'Danube ripples' (Donauwellen). Despite Iosif Ivanovic's significant popularity during his lifetime, he has not garnered much recognition in the 21st century, with various dances and marches primarily performed and recorded in Romania. However, his waltz stands out, achieving fame comparable to that of the Strauss brothers, particularly Johann Strauss II. Its appeal lies in its melancholic melody, which reflects Slavic folk music and is distinct from typical Viennese waltzes. This waltz was also popularized in the United States as the 'Anniversary Song,' featuring lyrics that align with its melody. During the Japanese colonial period in Joseon, a song titled "Sa-ui Chanmi" emerged, inspired by the same concept, and gained immense popularity through the rendition by Yun Sim-deok, marking a significant moment in early Korean music. A biographical film sharing the same title was released in 1991. Additionally, a piano solo arrangement of the waltz is included in the "Piano Piece Collection," serving as supplementary material for piano learners, leading many to discover the piece for the first time. The song is also featured as an insert in the Dutch animated short film, Father and Daughter.

사의찬미/ 부활의깃붐 - 윤심덕 (Hymn of Death/Resurrection Flag Boom - Yun Sim-deok)

The album 'Praise/Hymn of Death' is one of the two that I have successfully located, and both will be discussed.

Released in 1926 by Ildong Gramophone Company, "Praise of Death" marks a significant moment in Korean popular music, sparking extensive social discourse. The song's prominence was largely influenced by the scandal involving Yun Sim-deok, which facilitated the broader recognition of phonograph records in Joseon. Accompanying the main track, "Joy of Resurrection" serves as a hymn featured on the reverse side of the album.

Lyrics

Life is ultimately finite, governed relentlessly by the passage of time. When confronted with the inexorable nature of time, one finds a capacity for forgiveness and understanding that transcends ordinary experiences. The concepts of transience and compassion are intertwined, akin to two facets of the same reality. The notion that chaotic desires may eventually subside and that the anguish of relationships is temporary can serve as a source of solace amidst life's challenges.

Engaging with the profoundly unsettling song 'Ode to Death' evokes complex emotions. The title itself is haunting, as it openly extols death, seemingly threatening to erase all vitality. The ethereal quality of Yun Sim-deok's voice resonates as if it belongs to another realm, embodying a profound sense of emptiness. Paradoxically, after experiencing this deeply cynical piece, life may appear more vibrant and hopeful, akin to the renewal that follows tears. Immersing oneself in such sorrowful melodies can strip away the trivialities of existence, revealing what is truly significant and reigniting the desire to live. Yun Sim-deok's portrayal of life as a "vast wilderness" and a "dangerous confession" remains relevant nearly a century later, prompting existential inquiries that echo the void of contemporary existence.

The second verse stands out for its literary purity, encapsulating the duality of existence through the lines, "The smiling flowers and the crying birds/ Their fates are all the same." This juxtaposition of joy and sorrow reflects the complexity of life, akin to dust that settles lightly yet profoundly. Echoing Charlie Chaplin's sentiment, life appears tragic up close but transforms into a comedy from a distance. The poignant lines, "You poor life/ Passionate about life/ You are a dancer/ On the sword," convey a sense of hopelessness intertwined with fervour. This metaphor of a 'dance on the sword' captures the reckless pursuit of desires, illustrating the human condition's inherent struggles and the fleeting moments of peace that follow.

In a tragic turn of events, just prior to the song's release, Yun Sim-deok (윤심덕) and her lover, Kim Woo-jin (김우진), who was already married, took their lives by jumping from a government ferry into the Korea Strait. known as the “Gyeonghaetan (玄海灘). This dramatic incident, where the song and their lives intersect, has an almost surreal quality, elevating the narrative to mythic proportions. The scandal surrounding their deaths contributed significantly to the song's success, prompting music critic Kang Heon to suggest a conspiracy theory regarding a potential 'suicide planned by the record company.' This song marked a pivotal moment in the evolution of Korean popular music, with its melody derived from Romanian composer Ivanovic's 'Danube River Ripples,' while the identity of the lyricist remains uncertain, speculated to be either Yun Sim-deok or Kim Woo-jin.

In February 1990, shortly before Voyager 1 exited the solar system, it captured an image of Earth with its camera directed away from the planet. The renowned scientist Carl Sagan reflected on this distant view of Earth, which appeared as a nearly imperceptible dot, stating that it was home to "heroes and cowards, creators and destroyers of civilizations, kings and peasants, couples in love, mothers and fathers, hopeful children, corrupt politicians, superstars, great leaders, saints and sinners," all residing on this minuscule fragment of the cosmos.

From a broader perspective, life can be perceived as a mere trivial occurrence, lacking even the elements of comedy. At this moment, that tiny speck of existence continues its journey through the vastness of space.

Acceptance of Cover Songs in Early Popular Song History

The first commercial album in Korea debuted in 1907, marking a significant moment before the emergence of popular song albums, during which early popular music primarily consisted of Japanese or Western adaptations. The song <Hymn of Death> serves as an example of this trend, being a cover that incorporates lyrics into a segment of Ivanovich's <Ripples of the Danube>. While it is believed that either Yun Sim-deok or Kim Woo-jin penned the lyrics, the absence of their names on the text complicates definitive attribution.

Praise of Death / Front cover of the Resurrection Flag Boom album, owned by Shinnara Records.

Composed around 1880, <Ripples on the Danube> has seen widespread release across various countries. In Japan, it was introduced as <Donaugawa no Sazanami>, featuring lyrics by Teiichi Tamura. However, the song's portrayal of picturesque river landscapes contrasts sharply with the sombre themes present in <Ode to Death>. It is important to note that Yun Sim-deok's <Hymn of Death> is also referred to as Praise and Ode, alluding to the same piece.

The love affair between Yun Sim-deok and Kim Woo-jin

This song gained notoriety due to Yun Sim-deok, who recorded "Hymn of Death" in Japan, tragically taking her life by jumping into the sea with her lover, playwright Kim Woo-jin, while returning to Korea. A soprano and graduate of the Tokyo Music School, Yun Sim-deok was emblematic of the active new woman of her time; however, it is widely believed that she and her partner succumbed to despair over their relationship, particularly given the complexities surrounding her love for a married man.

The relationship between Yun Sim-deok (윤심덕) and Kim Woo-jin (김우진) sparked numerous speculations and rumours, persisting until the 1930s. These included theories suggesting that her death was not a suicide but rather a murder, or even that she had survived and was living in Italy. Such narratives illustrate the significant social impact and public intrigue surrounding their affair.

An opportunity to prove the potential of the phonograph record market

Ildong Gramophone Company, established in Osaka, Japan in 1920, commenced the distribution of Korean records in September 1925, producing approximately 180 records from 1925 to 1928. Notably, the track “Praise of Death” is distinguished by its unique catalogue number 2249, setting it apart from other recordings by Yun Sim-deok.

Sa-ui-chan-mi / Resurrection's flag boom album back cover, owned by Shinnara Records.

The cataloguing adheres to the Japanese numbering system utilized by Ildong Gramophone Co., Ltd. The lyrics, which reference “a song of determination,” suggest that this system was employed during the expedited production of the album following Yun Sim-deok’s passing. The album label was inscribed in Japanese as “Shinosanbi (死の讚美).” This album gained significant popularity upon its release and was reissued multiple times, with one instance mistakenly listing the artist as Lee Sim-deok (伊心德) instead of Yun Sim-deok (윤심덕). The media coverage surrounding Yun Sim-deok's personal life further amplified the album's appeal, highlighting the burgeoning potential of the phonograph record market.

‘Praise of Death’ revived through film and song

The 1932 recording of "Praise of Death" by Kim Seon-cho is believed to bear similarities to Yun Sim-deok's original song, although the authenticity of the sound source remains unverified. Prior to Korea's liberation, it is challenging to locate any cover versions of "Praise of Death," likely due to the original's profound impact. Following liberation, notable artists such as Kim Jeong-ho, Lee Mi-ja, Na Yun-seon, and Han Yeong-ae performed renditions of the song.

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The original, it's full of goosebumps.

The romantic narrative of Yun Sim-deok has also been adapted into film, with significant examples including "Yun Sim-deok," directed by Ahn Hyun-chul and featuring Shin Sung-il and Moon Hee, released in 1969, and "Hymn of Death," directed by Kim Ho-sun and starring Jang Mi-hee and Lim Sung-min, released in 1991. Notably, "Hymn of Death" achieved considerable commercial success, ranking third in the Korean box office in 1991. Additionally, Shinnara Records reissued the phonograph record of "Ode to Death" as part of a restoration series in 1990, with a rare copy fetching over 50 million won at a Yahoo Japan auction in 2015, marking it as the most expensive Korean pop album.

Faust Noel / Blue Galnilly - Yun Sim-deok (파우스트노엘 / 푸른갈닐리 – 윤심덕)

The album "Faustnoel/Blue Galilee" by Yun Sim-deok, published by Ildong Gramophone Co., Ltd. under the "Jevipyo Records" label, features the inaugural carol song in Korea. According to existing music documentation, the tracks on this album are unequivocally recognized as the earliest carol songs in the country, serving as significant evidence of the historical development of Korean carol music.

Korea's first Christmas song album

Ildong Gramophone Company launched two albums featuring Yun Sim-deok's carol songs in October 1926, titled "Faustnoel/Blue Galilee" and "Santa Cruz/Santa Lucia" (album number B-101). Notably, "Faustnoel/Galilee" represents the inaugural phonograph album of carol songs in Korea. According to the Maeil Shinbo on October 18, 1926, these tracks are recognized as the earliest recorded carol songs; however, during that period, the concept of carol songs was not established, leading to their classification as hymns. The first hymn album in Korea was released a year earlier, in October 1925, by vocalist Ahn Ki-young.

‘Faustnoel’ mistaken for a hymn

The authenticity of the phonograph record featuring the inaugural carol song remains unverified, leading to widespread speculation. While <Santa Cruz> was acknowledged as the first carol song based on its title, <Faustnoel>, which bore an earlier catalog number, was presumed to be a hymn, alongside <Blue Galilee> on the reverse side.

The revelation by Lee Kyung-ho, the album's owner, that 'Faust' represents a 1920s Japanese pronunciation of 'First' clarified that <Faust Noel> is indeed a well-known Christmas carol, even among non-Christians. This piece is a rendition of <First Noel>, celebrated for its narrative of the three wise men visiting the birthplace of Jesus. The Japanese recording of <Faustnoel> features Yun Sim-deok's younger brother, Yun Seong-deok, providing piano accompaniment, while Yun Sim-deok (윤심덕) delivers the Korean-translated lyrics with her distinguished vocal artistry. The album gained significant attention during its appraisal on KBS 1 TV's "Real Masterpiece" on December 27, 2015, where it was valued at 10 million won.

Faust Noel / Blue Galnilly Album Back

History of Early Korean Carol Songs

Korean carol songs have evolved alongside the introduction of Christianity, which began to take root at the close of the Joseon Dynasty. During the Japanese colonial era, these songs were primarily performed in churches, with the earliest recorded carol attributed to Yun Sim-deok (윤심덕) in 1926. Following her, Yohan continued the tradition by releasing a carol song album in December 1934.

In August 1935, composer Hyun Je-myeong contributed to the genre by releasing "Silent Night, Holy Night" through Columbia Records. This was followed in 1941 by a collaborative effort from classical musicians Hyun Je-myeong, Kim Hyeon-jun, Kim Ja-gyeong, and Kim Su-jeong, who recorded "First Christmas" and "Silent Night, Holy Night" as a mixed quartet for Victor Records, thereby establishing a foundation for the genre's wider acceptance.

The enjoyment of Christmas songs among the general populace surged after Korea's liberation, particularly with the influence of American pop singers like Bing Crosby, who were introduced by stationed U.S. soldiers. In the 1950s, notable songwriters such as Han Bok-nam, Jeon Oh-seung, and Ha Gi-song began to create original Christmas songs, incorporating elements of trot music, which was the dominant genre of the time.

The Rise and Fall of Comic Carols

In 1966, the widespread embrace of Christmas carols in Korea commenced with the release of "Jingle Bell" by comedian Seo Young-chun and the female duet Gapsun Eulsun, marking the inception of comic Christmas carols in the country. This development led to a vibrant atmosphere during the year-end festivities, as numerous Christmas carols filled the streets, particularly flourishing until the 1990s. The peak of Christmas song popularity occurred in the 1980s, characterized by the remarkable success of holiday tracks by well-known comedians like Shim Hyung-rae. During this era, Christmas albums from prominent comedians and singers achieved significant commercial success, establishing Christmas music as a distinct genre. These albums were often viewed as lucrative ventures, selling tens of thousands of copies with minimal promotion due to their seasonal nature and lack of copyright fees. However, the rise of the digital age and a downturn in the music industry have led to a dramatic decline in Christmas album releases, making them noteworthy events in contemporary times.

Yun Sim-deok's Song of Determination

The publication titled "The Life of a Musician" encompasses the lyrics of "Ode to Death," which was released by Ichiban Record Co., Ltd. in Japan shortly after the passing of Yun Sim-deok (윤심덕), and is characterized as a 'death song.'

‘Praise of Death’ Covers

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Some of the more famous covers of "Hymn of Death" are:

S.E.S. Bada - Immortal Songs

Musical actor Min Woohyuk

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Other Media

Summary

A century-old love story continues to resonate in contemporary K-dramas, illustrating the profound "scandal" it represented in 1926 and its enduring impact. The true circumstances surrounding the relationship between Yun and Kim remain obscured by time, as the perspectives of family and friends have faded, leaving us with only fragmented narratives. While their actions may have been deemed inappropriate by some, others might view them as acceptable; nonetheless, the tragic conclusion of their story evokes deep sorrow, overshadowed by the scandal that defined their legacy. The causes of their deaths are intertwined with societal norms of the era, familial pressures, and pervasive rumours.

It is noteworthy that the true reason for Yun's death, in particular, may never be fully understood, as neither she nor Kim left behind a suicide note. (From the 2018 Krama Rendition) Kim Woo-jin was aware of their burgeoning feelings yet failed to inform Yun of his marital status or to deter her from taking such a drastic step. Yun's parents viewed her more as a financial asset than as their daughter, prioritizing the futures of her siblings over her well-being. Her siblings, too, placed greater trust in the words of outsiders than in their sister's character. Additionally, societal pressures and the origins of the rumours played significant roles in shaping their tragic fate. Ultimately, Yun's silence and her decision to end her life represent the most profound injustice she inflicted upon herself, rendering the circumstances of both their deaths a poignant tragedy.

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