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pyrrhocorax · 7 months ago

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Re: Sweden, Norway, and Denmark's Japanese dialects in Hetalia (and potential implications to their characterization) (with briefer notes about Fin and Ice)

Thanks to @nordickies for being the spark that lit the fire to write this post. This information also personally has informed some of my personal takes on the Nordic 5 for over a decade now, so I hope it is useful. A lot of this was more common knowledge back in the livejournal days of the fandom.

Disclaimer: my Japanese is limited and by no means do I claim to fully understand all of the cultural complexities surrounding this topic. I will try, where I can, to back up my claims with at least somewhat credible sources especially since I am someone who is not Japanese in origin either ethnically or culturally, however I DO know more than the average person would because I have lived in Japan, was exposed from my practical birth to the culture and language waaay more than is typical due to me living overseas, and I have studied the language on an elementary level in several academic settings. I am by no means an expert (I am a wildlife biologist by trade), but all of this is done in good faith, and if you do know more than me (especially since I am limited in my ability to get access to academic texts right now — nor am I going far out of my way to find those, as this is a meta post about Hetalia of all things and I am not going to do a whole giant thesis about this for one post), feel free to correct me and/or send me further resources, as I want to convey as accurate of information I can as possible. Part of my motivation for making this post was to spur conversation and hopefully have others who know more than me contribute to the ongoing conversation, to which, I encourage those who read this post to check the notes for any further updates. Another note that I also do not originate from a Nordic country, so there may also be additional layers people from those countries may be able to add. Thanks! Let's begin.

*********************************************************** Like several characters in Hetalia, the Viking Trio speak in unique Japanese dialects that further make them distinct and characterize them in Japanese. Sweden speaks in a Touhoku dialect, Norway in the Tsugaru dialect (which is a specific type of Touhoku dialect), and Denmark speaks in Ibaraki dialect. The Ibaraki dialect is sometimes seen as belonging to the Touhoku dialect group or the Kantou dialect group, and the classification is debated. Generally, Touhoku accents are characterized by slow speech, the slurring of words together, and the muttering of words — as well as being associated with rural country folk (Kumagi 2011, direct PDF download). This dialect is often translated into English as a redneck/hick accent and drawling speech — and as those who speak it are often characterized or stereotyped as unintelligent folks from out in the sticks. Kumagi cites Inoue (1977) as saying that Touhoku dialects are "degraded at the bottom in the Japanese language" scoring low on "intelligence and emotion-related associations." One American English rough equivalent (not localized, but in terms of reputation in U.S. culture) by my best estimations would likely be Appalachian dialects, which are also stereotypically characterized as being a hillbilly, unintelligent, and rural accent also featuring drawled speech and often truncated speech (source). Like many Touhoku dialect speakers in Japan, Appalachian dialect speakers often hide, mask, or reduce their accent, especially if they relocate someplace outside Appalachia, in order to seem more credible to others, as it is generally seen as an “inferior” dialect of American English in the wider culture (personal/family lived experience, but also a good radio piece on it here). The other way Touhoku dialects are translated in media are as Upper Midwest or Northern Plains dialects of American English (not the most credible source, but a lot that is on here that I can confirm to be correct). This characterization is likely a more accurate candidate for the Nordics (and may be why Hima chose this dialect group for them), as many immigrants from Nordic countries settled in the Upper Midwest/Northern Plains (source, personal experience living in this region for a lot of my life). Touhoku dialects are also a more northern dialect group, which geographically coincides with the Nordics being, well, northerners!

(Map of Touhoku dialects regionally) I have not been able to find any information re: if Sweden speaks any particular type of Touhoku dialect (or if it is more broad), but I will talk a bit about how his speech was transliterated in early scanlations before moving on to the other two. Because of how slurred/more truncated/less intelligible Touhoku accents generally are (and remember, Den/Nor/Ice did not make their appearance until well after Swe/Fin did!), likely early translators decided to chop off letters/make Sweden's speech seem less intelligible in order to convey that to readers. Unlike Norway and Denmark, Sweden also often speaks in shorter sentences/phrases in Japanese, and given that Finland canonically says "it's just hard to communicate with him" (see Running Away with Mr. Sve) that is also likely why early Hetalia scanlators before official translations of the comics were available (note: god this is making me feel old as hell) made the decision to give him the speech patterns that they did, and that ended up spreading through the fandom. When the other Nordics with their regional dialects dropped, given how Sweden’s vocal trait got translated into English and then fandom ran with it to varying degrees of intelligibility, I think the decision was made to not translate Norway the same way to cause less trouble in fanworks, while the Ibaraki dialect did influence how Denmark was translated (more on that below.

Norway speaks in a very particular Touhoku-family dialect within the series that is generally not well-reflected outside of the source material at all. The Tsugaru dialect is spoken in the northwest part of the country, specifically in the western part of Aomori Prefecture — Tsugaru dialect is a particularly unusual dialect, even by Japanese dialect standards, by being one of the most difficult dialects in Japan to understand (source). Even within Japan itself, people speaking this dialect often have to be subtitled on television for other Japanese audiences to understand, and there have been occasions where the dialect has been displayed on television to marvel at how strange and unintelligible it sounds to other Japanese speakers. Sometimes speakers of this dialect have been characterized (or mischaracterized for comedic effect) as French in Japanese because the odd sound and unintelligability of the dialect (source). Kumagi (2011) also states that "[...] within the Tohoku [alternate transliteration of Touhoku] dialects, Aomori [prefecture in which Tsugaru is spoken] dialect is at the bottom [of the hierarchy]," meaning that even among the already disrespected Touhoku dialects, Tsugaru belongs to the worst of the bunch in terms of reputability and respectability in Japanese perceptions. The Tsugaru dialect is a source of fascination, comedy, and disrepute/low standing all at the same time. While we don’t know why Hima selected Norway to have this dialect, I have a few proposals. First, this gives him a similar flavor to the other members of the Viking Trio while keeping him distinct — while Ibaraki is a more southern dialect geographically (for the region), Tsugaru is spoken both more north and more west than it. So if you map their dialects out on a map, their geographical location to each other also somewhat resembles their actual locations as nations to each other in the Nordics! Which is neat!

Second, Hima characterizes Norway has being slightly otherworldly and unusual largely due to his fairy-friends and such. But I also think that he likely chose Tsugaru for him not only because that makes him seem like he’s out of this world, but also because Japan is kind of fascinated by that dialect in particular despite not holding it in high regards by it too — sure, it is a hick accent, but it is an interesting hick accent. I think the fact that Japanese speakers sometimes liken the dialect to French is interesting specifically because of how Japanese people often view the French — French culture something that is often romanticized and idealized, and given how Tsugaru dialect can sound French-ish to Japanese speakers, that may be why Norway is kind of designed as the “pretty boy” of the trio by the fandom? In the same way that “Paris Syndrome” is a thing, where Japanese who go to France are often shocked at how their idealized version of France does not live up to the realities of the country (trust me it's real there is a wikipedia page lol), I think you can argue that in-universe Norway can be seen in a lot of different ways depending on the preconceived notions of how you view the dialect. If you view it as French-like and think it sounds interesting, you may find it alluring/beautiful. If you think it is crass, you'll look at it with disdain and disgust. If you think it just sounds silly and stupid, it is. If you think it is nostalgic (as Kumagi states that this is the only positive association this dialect has) and has a close association with nature/pastoral life because of that, it is. I think Norway in canon is characterized on all four of those axioms at the same time (if you really wanna pull canon receipts I will at another time) which makes this make a lot of sense to me as to why that dialect was chosen for him. Third, I think that given Norway was largely the worst off of the three kingdoms for most of history, it makes sense to give him the worst accent in terms of reputation/status out of all of them, too. Note: specifically, re: how Norway uses "brother" in Japanese is also interesting when referring to Denmark. What he is saying is "anko" (あんこ), which literally means "young man/eldest son" directly translated and is specifically only used to mean that in northern Japanese dialects. A good way to put it is it is like people in the U.S. use "bro" as a catch-all term for a similar-aged guy you are trying to get the attention of kind of informally, in the same way you can say "nii-san" to both mean "older brother" and also "guy who seems older than me I am addressing informally" I guess?? Funnily enough, which I didn't know until researching shit, it apparently also means bottom (homosexual) in prison slang??? Which may or may not be intentional I guess on Hima's part, and could also influence your characterization of Norway as a result. Finally we move on to Denmark. The Ibaraki dialect is characterized by number of things, but for our purposes I think that the two most important traits are the general lack of polite speech and the slightly faster rate of speech (unfortunately, my only written sources I can point to are wikipedia and TV tropes again, but I have heard this orally from someone a long time ago - I looked for more credible sources but couldn't find any easily). Because of it being debated as to whether or not is a true Touhoku dialect or if it is actually a Kantou (more southern/eastern) dialect, I think you can also argue that makes sense given Denmark is kind of the "gateway" into the heart of Europe geographically. People have generally translated this as him being excitable and more casual in the way he communicates to other people. I have been able to find less resources on this particular dialect and how it is perceived culturally, so I will sadly have to leave it at that, but from my understanding he is generally translated appropriately in the manga from what I have seen, with the -in' instead of -ing and ya instead of you to have it seem more relaxed/familiar/casual.

Final notes on Finland and Iceland: I cannot confirm this personally, but from what I can hear from Finland, it sounds like he speaks pretty standard Japanese to me, but take that with a grain of salt since I am not the expert here. Which, dialect-wise, places him as the odd person out (which fits with Finnish being the linguistic outgroup of the five) and also puts him as the relatable “stand in” for Japanese people learning about the Nordics — reminder he is the one who introduces them all in that one comic (see The Nordic 5+a) and even earlier comics (see Running Away with Mr. Sve), and we’re viewing the Nordics from largely his perspective). Since Finland in this series is largely characterized (and often deemed a poor stereotype by Finns) because of the Japanese perspective on Finland/Finns, it makes a lot of sense Hima used him kind of as a self-insert for Japanese readers/viewers to understand the Nordics from, as of the Nordic nations, Japanese folks are likely going to have the strongest familiarity/connection to Finland because of the Moomins. Please take the following information about Iceland with heaping grains of salt, but from a memory, I believe he also speaks the Tsugaru dialect, at least some of the time???? This makes sense he shares the Tsugaru dialect with Norway, as he’s Norway’s in-canon sibling, but I have a vague memory of a meta post I cannot 100% confirm or deny exists re: him only speaking the dialect/the dialect coming out more when he’s alone?? This following is speculation since I cannot confirm/deny that right now with my current abilities, but if it is true, would also be an interesting level to his character and make sense — it puts further distance between him and Norway if he purpsefully doesn’t speak the same way as his brother when his brother is present, and it also is reminiscent of my own experience living with people with discriminated accents who then mask their “less desirable” dialects in their teens/20s so they don’t get discriminated against as they move up in the world. Kumagi (2011) states that "Therefore, young female native speakers of Tohoku [alternate transliteration] dialects feel ashamed of their dialects and hesitate to speak them in big cities such as Tokyo. They are made to feel inferiority complex about their dialects, which are stigmatized as unfeminine". Since Iceland is very much characterized as a teen in canon, I think that this makes sense to do in the broader context of Hima’s choices. The specific reason as to why I state that I believe he speaks Tsugaru some of the time but not always is because there are some panels he speaks without it and some where he does seem to have an accent (HWS Chapter 112, relevant screencap below, this is the only time he speaks like this from what I can find in scanlations/translations, but it has to be a deliberate choice). Would love more info on this from someone who knows more about Japanese than I can do.

Again, please check the original post and/or notes for any future additions that I will add/edit accordingly (with notes as to where/when that happened) if any other relevant information surfaces, but I hope that was at least a little informative and interesting to read. I consulted a bunch of other resources too (read a bunch of papers I could find online), but a lot of those I read several months ago and no longer can find :x otherwise I would list them here.

Let me know if there are any typos/things are unclear, b/c holy shit this took a lot more effort and time for me to write up than I thought it was going to, and I am too tired to proofread it after spending several days on it. X_X

#hws norway #hws denmark #hws sweden #hws nordics #aph nordics #hws iceland #hws finland #pyrrhocorax meta #just so it is easier to find again :/a #anyway i hope this is interesting at least. idk how this fandom tags stuff anymore

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simply-ivanka · 6 months ago

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Kamala Harris: Mystery Commander in Chief

How would the Vice President keep America safe in a dangerous world? The voters deserve some answers.

The Editorial Board --- Wall Street Journal

Kamala Harris is all but telling Americans they’ll have to elect her to find out what she really believes, as the Vice President ducks interviews and the media give her a free ride. This is bad enough on domestic issues, but on foreign policy it could be perilous. The world is more dangerous than it’s been in decades, and Americans deserve to know how the woman aiming to be Commander in Chief Harris would confront these threats.

Ms. Harris this week tweeted a photo of her sitting next to President Biden in the White House situation room discussing the Middle East. The point is to suggest she’s a co-pilot on Biden foreign policy.

This isn’t the credential the Harris campaign thinks it is, and the voters should hear directly from her what she thinks about the 2021 Afghanistan withdrawal, the failure to deter Russia in Ukraine, the Iranian nuclear program, China’s island grabs in the South China Sea, and more. The matter is all the more important because Ms. Harris conspicuously declined to choose a running mate who might lend foreign policy experience to the ticket.

Ms. Harris has given a few hints about her own views on the Middle East, and those aren’t encouraging. Her team spent much of Thursday walking back whether she told an anti-Israel group she’d be willing to ponder an arms embargo against Israel. She skipped Benjamin Netanyahu’s speech to Congress when our main Middle East ally is under siege. Did she pass over Josh Shapiro as her running mate because he would have enraged the anti-Israel wing of the Democratic Party?

To the extent she has revealed a larger instinct on national security, it’s been wrong. She told the Council on Foreign Relations in 2019 that she’d rejoin the Iran nuclear deal as long as “Iran also returned to verifiable compliance.” But Iran didn’t comply and is now on the brink of a nuclear breakout.

Her 2018 Senate vote to “end U.S. involvement in the Saudi-led air campaign in Yemen,” as Ms. Harris put it in a tweet, also hasn’t aged well. The Houthis the Saudis were fighting are now targeting commercial ships in the Red Sea almost daily and putting U.S. naval assets at risk. Does she think this status quo can persist—and what would she do differently?

Ms. Harris will surely argue that she and Mr. Biden reinvigorated the North Atlantic Treaty Organization after Vladimir Putin’s invasion in Ukraine. But absent a change in U.S. political will, the war in Ukraine isn’t on track to end on terms favorable to American interests. Her past enthusiasm for banning fracking—which her campaign is trying to walk back—also suggests she isn’t serious about checking Mr. Putin’s main source of war financing.

Ms. Harris would no doubt also tout the diplomatic progress the Biden Administration has made in Asia with Japan, the Philippines and others. Yet she whiffed on one of the single most important diplomatic questions in Asia: She opposed Barack Obama’s Trans-Pacific Partnership trade deal that would have excluded China and boosted America as the region’s premiere trading partner.

Most important, will Ms. Harris build up the hard military assets required to deter China’s Xi Jinping and a consolidating axis of U.S. adversaries? “I unequivocally agree with the goal of reducing the defense budget,” Ms. Harris said as a Senator in 2020 after voting against a Bernie Sanders proposal to slash the Pentagon by 10%. That vote needed no explanation, but Ms. Harris wanted to make sure the left knew she was sympathetic. Does she still want to slash the defense budget?

Donald Trump often shoots from the hip on these subjects, and his favorable comments about dictators are witless. But his first-term record, especially on Iran and the Middle East, is far stronger than the Biden-Harris performance.

Americans shouldn’t have to read tea leaves to figure out if Ms. Harris would keep the country safe in a treacherous world.

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melatonin-melanin · 1 year ago

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menhera as a movement and how it can connect to race

most members of the menhera subculture tend to have one goal in mind, and it's to be able to improve their mental health one way or another. for those unaware, menhera is a mental health movement originating in japan, where the term was originally defined as "someone who seeks mental well being." you can learn more about it here.

a large aspect of the menhera subculture is creating art in order to vent your struggles. this art is expressed most commonly through mediums such as fashion, painting, and music. any topics are acceptable to create vent art from, and often there will be motifs related to the author's trauma. however, over time, menhera has been watered down to containing mainly medical motifs in creations, as opposed to the original intention of being an outlet for a vast majority of issues that people may struggle with. of course, this doesn't mean that people no longer use it to vent; there are still many active members of the community, at least overseas.

you might be thinking, "that's nice to learn about, but what does this have to do with race? isn't this about mental health?"

well, your race can directly impact your mental health in multiple ways. when it comes to race, it's important to keep in mind that it's not just the color of your skin. race, as it is defined in society, is also your hair texture, facial structure, culture, and traditions. race is ultimately a social category, as it is fluctuating throughout history and is solely determined by people in power. think about it: for those growing up in the U.S., did you ever have to fill out forms for mandated tests? do you recall that, as time went on, more and more racial categories were added as options to check off when asked for your race?

with all of these factors taken into account, it's no wonder that race can affect mental health. whether it's from racial discrimination in multiple communities and institutions, cultural-specific struggles, or trying to find one's own place inside and outside of race-based communities, any and all of these issues can be mentally draining and have someone questioning their self-worth. added to all of this, it can be more difficult for someone to receive help for these troubles when they're not surrounded with people who understand. not every person of color is going to understand what a person with a mental illness goes through, and not every person with a mental illness is going to understand what a person of color goes through, either. depending on the people around them, a person of color struggling with mental illness may feel much more hesitant about reaching out to others because of this.

menhera as a movement was created in order for people to express all kinds of feelings without needing any particular label for what they're struggling with. it lets you wear your heart on your sleeve, and embrace aspects of yourself that you have trouble accepting. you can be beautiful, despite everything. you can be beautiful despite having traits that you've felt so insecure about for the longest time, whether it be skin color, hair type, face shape, cultural significances; none of that makes you any lesser, regardless of what you may feel or what others may have told you. my own race has tied into many of my experiences with my self-image, and my struggle with that view is part of why i identify with the menhera subculture. for anyone reading this who feels similarly, this is sort of my way of saying that you aren't alone!

i feel that, although the medical association is most likely here to stay, the majority of the menhera community can also work beyond only acknowledging certain facets of mental illness. this isn't only referring to the acknowledgment of racial issues, but other intersecting traits that affect people's experiences with mental illness. gender, class, physical disability, orientation; all of these undoubtedly influence each individual's views on mental health, and the community should strive to be more open towards all of these different experiences no matter how messy or uncomfortable they get. after all, the purpose of menhera is to tell ourselves that we're pretty, cute, handsome, gorgeous, and all of those kinds of adjectives despite how our troubles make us feel!

#rise and shine #menhera #yamikawaii #yumekawaii #メンヘラ #mental health

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centrally-unplanned · 2 years ago

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In case anyone wants some scholarly data on the bombing-growth impact, I can provide some good ones. The "bombing didn't impact growth in Germany & Japan" is too well known to bother with; I find this Vietnam paper better, as Vietnam was poorer, bombed more intensely, and most importantly bombed very regionally due to weird political factors; its the best 'experiment' of the impact of bombing on wealth, health, education, etc. And its all zeros; the capacity of humanity to survive the worst modernity can throw at them and rebuild is truly marvelous.

I will also share my favourite results ever in a paper; the areas of London that were bombed during the Blitz are generally the richest areas of London, as the need to rebuild wiped away NIMBY stakeholders and allowed, taller, better buildings to be constructed. London *would be poorer today if it had not been bombed during WW2* is a galaxy brain take that is actually correct, amazing:

I think the last one is illustrative, though - all capital is temporary. When people talk about the "agglomeration of capital", it can invoke ideas of building stocks of factories and tools and vaults of gold or whatever that generate wealth indefinitely, but that doesn't happen. Those factories shred, degrade, become outdated, need to pivot, etc in a matter of years. The economy has to be perpetually worked to generate value. "Agglomeration of capital" is not a stock of permanent wealth, its a stock of present wealth that gives you the power to dictate future wealth and its construction. And most of that wealth is the human capital, the org structures, the commercial relations. The buildings and tools are always cheap in comparison to those. Which is why bombing doesn't impact long run ecomic growth.

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eretzyisrael · 2 months ago

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by Jaryn Crouson

Several anti-Israel groups are planning to interrupt holiday travel and Black Friday shopping in a series of protests aimed towards “global escalation.”

A coalition of groups has planned over 50 events taking place from Nov. 27-29 in major cities across the U.S., Europe and Australia with the intention of disrupting “business as usual,” according to the coalition’s website titled “global escalation.” The action list includes coordinated strikes, protests and boycotts.

“From Wednesday 27th to Friday 29th November, the Global Escalation will bring together people and movements around the world to step up the collective resistance by going on strike, refusing to shop and by taking direct action,” the website’s “call to action” reads. “It will be the first of a series of blows that will force change.”

Protesters march through the CBD on October 06, 2024 in Sydney, Australia. (Photo by Roni Bintang/Getty Images)

Some events intend to prevent shoppers from purchasing from vendors the group declares are “complicit in genocide” in hopes of “depressing the economy during the whole holiday season,” the website states. Other events call for workers and students to stage walkouts and strike “in solidarity with Palestinians” and protest of “Israeli weapons’ industries.”

“The forces of global capital and institutions of western power have thrown their entire weight in the service of the Israeli war machine, getting away with levels of brutality that none of us have witnessed before,” Global Escalation’s website states. “New precedents of colonial violence are being established, along with new ways of retaliating against anyone fighting the injustices that plague our world.”

A car caravan in South Carolina on Nov. 29 plans to interrupt traffic and clog “the central arteries of Charleston,” the event description says. (RELATED: Chuck Schumer Just Sparked A Massive Free Speech Debate After Sliding Antisemitism Act Into Defense Bill)

New York City, Boise, Idaho, Denver, Colorado, Omaha, Nebraska and several cities across California are some of the areas expected to be hit by protests, according to the website. There are also events planned in the United Kingdom, Belgium, Spain, Japan, Canada and Italy, among others.

Anti-Israel protesters have led a multitude of disruptions since Hamas’ deadly Oct. 7 2023 attack on Israel, blocking traffic on more than one occasion in San Francisco and Los Angeles, California. Demonstrations on college campuses across the country have ended in hundreds of arrests after countless violent and destructive scenes unfolded.

#global escalation #anti-israel groups #black friday

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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)전��랑의 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��(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 유��기와 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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You are not Alone

Samaritans Helpline Number - 116-123 Emergency number - 999

#history #korean history #Music history #korean music history #korea #south korea #10s #20s #photography #Yun Sim-deok #Kim Woo-jin #the hymn of death #Praise of death #김우진 #윤심덕

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my-plastic-life · 5 months ago

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Happy tsukimi (moon viewing) day! The word "Tsukimi" literally means "viewing the moon," but it has come to refer to the entire celebration related to the Harvest Moon in Japan. Kiku is taking part!

In Japan, dango (round glutinous rice cakes) and silver grass are displayed in homes during the Tsukimi celebration. The reason behind this custom comes from the festival celebrating the crops. The silver grass represents the rice grains and wishes for good crops for the year, and it is also said to ward away evil. The round rice cakes (dango) represent the full moon and have been used as an offering to pray for the good health of children and their descendants. Chestnuts and green soybeans are also common offerings for tsukimi. It’s also common to display some vegetables like cucumbers and eggplants using bamboo sticks to make them look like animals. Kiku is offering and displaying all of these customary items.

Most people in Japan enjoy a relaxing tsukimi celebration at home gazing up at the moon while sipping sake under the moonlight. Kiku apparently doesn't have any sake, so she's enjoying some traditional delicacies instead - rabbit-shaped mochi and moon cakes! Other common meals during this celebration feature raw eggs which represent the full moon.

In Japan, it is said that there are rabbits on the moon. The belief has derived from the shapes of the craters on the moon which are said to look like rabbits. Therefore, many songs about the tsukimi commonly feature rabbits. Here in the U.S. and Western cultures, we see a “man in the moon.” For Japan, it’s the “rabbit in the moon.” Instead of a man’s face, you see a rabbit making mochi (rice cakes). There’s an old legend about the origination of the “moon rabbit,” including the belief that rabbits originally came from the moon. As a result, many promo and souvenir items involving tsukimi feature rabbits.

Happy mid-autumn festival, everyone!

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meruz · 1 year ago

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hi im putting all my asks in one post again. these are from like the past month and a half approx? some digimon thoughts some tmnt thoughts some art musings u know the usual

@waywardistics YAYY thank you so much for ordering! I'm glad it got to you & that you are enjoying it!

this is kind of a missive to everyone who ordered but: I am very nervous about pre-orders whenever I do them... nervous that not very many people will order, nervous that there will be supply chain or production dilemmas and I won't be able to get copies out to people in a timely fashion, nervous about having people's money but having an indeterminate amt of time where i have not yet "held up my part of the bargain" etc etc SO. THANK U GUYS...FOR ORDERING and being patient and im so glad it got to y'all

@seanonthemoon (idk why i cant tag u BUT) interesting... i gotta be honest I don't think abt the crests that much. i agree that they're very much like heres the "girl" crest heres the "nerd boy" crest etc to the point that it becomes almost meaningless. but i think what makes them even more meaningless to me, and is probably the reason they kind of designated girl/boy crests etc is that i think like the digivices they're toys and merchandise more than they are actual narrative tools LOL. I wouldve loved something with cody and mimi! theyre both so deeply empathetic and sensitive.. theres a lot they share but i think because they look so different on the surface it would make it difficult to market that merch...booo capitalism boooo toy marketing its all sexist bullshit at least here in the u.s. idk if japan is that different though.

I'm actually a little frustrated with how often 02 and 02 related media squanders cody in general lol. he feels like a parallel of izzy, joe, and TK(season 1 tk) while also being kind of none of those and suffering through lackluster characterization as a result... and then once ken joins the team it feels a little redundant. there's a couple cody-centric eps of 02 I remember really liking but then i think abt how he's been used since in like post-series content and 02:the beginning where they made him type on the computer even though obviously that's yoleis thing but because he had nothing else to do and aghh... my blood boils. i feel like the youngest but most serious anime achetype even at its bare bones is actually rly interesting idk why they don't play it up. UM. Once again my opinion is that he should be taller LOL and maybe they should play up his kendo martial arts honorable training stuff more idk. tallest + youngest + most serious just seems like a recipe for success for me. well. theres still time. and theres always fanfic.

THIS IS SO NICE TO SAY and not the first time someone has said it but i appreciate it everytime because i really admire the mm art style so much. It's like part of why I got really into the movie because I really recognized my own artistic sensibilities and aspirations in the way they stylized everything.

UM And i feel like since watching the movie and looking at all the concept art and making my own art i do feel like its only become more obvious how much my own art is lacking LOL LIKE when you see something that feels so similar I think the differences only become more stark. those artists are definitely on a different level than me. But it's nice to hear people say it doesn't look so different from their pov. thank u ^^

thank u!!!!!!! i love mundanity and naturalism... there's something so beautiful abt it to me lol... I feel like my anatomy needs work actually but ive been feeling better abt it this year so it's good to hear! thank you!

DLKGDSGDLALSNDF WAS IT TOO FAR..?? firstly, yeah I was thinking late teen/young adult ages for both of them ie 18-19ish, definitely not the age the kids are in the movie lol.

but also they arent DOING anything in that pic it is literally just a confrontation + some innuendo... I think teens should be allowed some less than subtle innuendo.. its like one of the top 3 classically teen pastimes...

this is such a funny ask to get because i feel like i haven't been able to do thin lineart until like. this past year or two maybe LOL. UM having a line-centric art job helped I think. I started on craig of the creek back in 2022 and thats a show where we spend a lot of time inking so I had a job where I was constantly moderating my line weight 40 hours a week every week for over a year. disappointingly, much of improvement is simply horrendous amounts of practice.

Here's a tip though: I think a lot of thin lineart boils down to confidence. I think instinctively we read thick, bold, fast lines as confident but theres actually a lot of obscuring you can do with a thick line. if you're not sure whether the nose on the face or a browline should be a little more left or a little more down you can hide that with a thick line and pretend its a shadow. or hide it with a bunch of quick lines and the eye can kind of approximate where looks best among the mass.. whereas a thin line is rly singular and stark and hides nothing, it needs to be precise. so anytime i know i want thin lineart i spend a LOT of time sketching, making sure i know exactly where i want my lines to go. so im not second guessing by the time im inking...

ok thats kind of a broad tip lol... here's one thats more applicable: IF POSSIBLE, lower your pressure sensitivity on your device. most devices have some way to edit your pressure sensitivity curve. I use a surface pro at home and this is what my pressure curve looks like most of the time.

When I work on a wacom it looks even more like a reverse L shape LOL. I'm naturally a really heavy-handed artist and I use a "light" or "hard" pressure curve to compensate for how hard I'm always pressing on the pen lol. if you're like me and you struggle with going too hard with the ink too fast... this will probably help a lot!

SFHASLDFH I LOVE THIS ASK this is like the type of question a person gets asked when chalk drawing on the sidewalk at recess LOL. but i understand because I've been struggling also for like. months. I think I'm finally starting to nail it down though so here's some of my observations.

[feel free to save this img but **please do not re-post it or share broadly**. my biggest fear in the world is to spend 30 min on some notes and become a widely proliferated art tutorial im not even kidding. i made it low contrast and difficult to read on purpose.]

my other tip is to just look at and study a lot of reference because that's all ive been doing. the tmnt are really cartoony so its difficult to use like actual anatomical reference unless ur going for that look BUT theres been so many adaptions in so many different styles that there's a real treasure trove of stuff to look at for how to simplify, stylize, and dissect these characters while keeping the recognizable essence. so theres lots to pull from.

If you want to expand further, it's also good to have 5) something sci-fi 6)something fantasy 7)something mundane/slice of life. a bedroom is a really good go-to. And of course some bgs can be two or more of these things at once.

I've definitely answered asks abt bg tips before but here's one specifically for if you want to do bg design for a job:

Your portfolio should probably have at least one of each of the following 1) an interior 2) an exterior 3) a cityscape 4) a nature scene. Just to cover kind of the basics of what you'd be asked to draw on any given project.

I actually feel like I don't have that many cityscrapes in my portfolio... this is something I'm gonna try to work on in the coming year LOL. OH ALSO. This is a very basic tip and people will tell you it all the time but its worth repeating: look up portfolio websites of artists who have the job you want. An easy way to do this is to go onto imdb for any cartoon or movie you like and to find the names listed as "bg/background designer" or whatever then just google that name +"art" or "animation" most artists have some public facing internet presence so it's not hard. spend time studying their work and hold those images in your head! it's a good way to get a good idea of what "industry standard" looks like and comparing ur own art to it... I know people sometimes get bummed comparing their art to others but if you can keep your head up lol.. it'll help you figure out what you need to work on!

ok thats all i have to say sorry for typing so much. happy new year everybody who read this far LMAO!!!!!

#ask

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rabbitcruiser · 6 months ago

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Flying West (No. 5)

San Francisco, officially the City and County of San Francisco, is a commercial, financial, and cultural center in Northern California. With a population of 808,437 residents as of 2022, San Francisco is the fourth most populous city in the U.S. state of California behind Los Angeles, San Diego, and San Jose. The city covers a land area of 46.9 square miles (121 square kilometers) at the upper end of the San Francisco Peninsula, making it the second-most densely populated major U.S. city behind New York City and the fifth-most densely populated U.S. county, behind four of New York City's boroughs. Among the 92 U.S. cities proper with over 250,000 residents, San Francisco is ranked first by per capita income and sixth by aggregate income as of 2022.

Prior to European settlement, the modern city proper was inhabited by the Yelamu, who spoke a language now referred to as Ramaytush Ohlone. On June 29, 1776, settlers from New Spain established the Presidio of San Francisco at the Golden Gate, and the Mission San Francisco de Asís a few miles away, both named for Francis of Assisi. The California gold rush of 1849 brought rapid growth, transforming an unimportant hamlet into a busy port, making it the largest city on the West Coast at the time; between 1870 and 1900, approximately one quarter of California's population resided in the city proper. In 1856, San Francisco became a consolidated city-county. After three-quarters of the city was destroyed by the 1906 earthquake and fire, it was quickly rebuilt, hosting the Panama–Pacific International Exposition nine years later. In World War II, it was a major port of embarkation for naval service members shipping out to the Pacific Theater. In 1945, the United Nations Charter was signed in San Francisco, establishing the United Nations and in 1951, the Treaty of San Francisco re-established peaceful relations between Japan and the Allied Powers. After the war, the confluence of returning servicemen, significant immigration, liberalizing attitudes, the rise of the beatnik and hippie countercultures, the sexual revolution, the peace movement growing from opposition to United States involvement in the Vietnam War, and other factors led to the Summer of Love and the gay rights movement, cementing San Francisco as a center of liberal activism in the United States.

Source: Wikipedia

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mariacallous · 6 months ago

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When Donald Trump first ran for the U.S. presidency in 2016, a wave of writing suggested that he was a realist. In this framing, Democratic Party candidate Hillary Clinton was presented as a neoconservative hawk who would start wars. Trump, by contrast, would balance U.S. commitments with its resources. He would avoid foreign conflicts and quagmires. He would be less ideological in his approach to nondemocratic states.

In 2024, this thinking has returned. Some realist voices are again suggesting that Trump is one of them. Trump’s desire to end the war in Ukraine—even though he simply intends to let Russia win—is taken as evidence of this. So is the selection of Ohio Sen. J.D. Vance as his vice presidential candidate. Vance has famously said that he does not care what happens to Ukraine. Conversely, he is a China hawk who seems to believe the United States cannot support both Taiwan and Ukraine simultaneously.

The notion that U.S. support for Taiwan and Ukraine is a trade-off is the most controversial component of the Trump realist position. Former Defense Department official Elbridge Colby, for example, has argued prominently that U.S. support for Ukraine undercuts its ability to help Taiwan, and that Europe should be almost exclusively responsible for helping Ukraine (or not).

But these hopes are badly misplaced. A second Trump term may well take an entirely different tack on China from the hawks—and even if he wants to move against Beijing, he lacks the discipline and ability to do so.

There is far more in Trump’s first term to suggest indiscipline, showboating, and influence-peddling than the clear-eyed, bloodless calculation of national interest that realists aspire to.

On China, Trump was undisciplined and sloppy. Yes, he turned against China in 2020, during the final year of his term, but that was more to deflect blame for COVID-19 than out of any realist or strategic reappraisal of U.S.-China relations. COVID-19 suddenly became the “kung flu” in Trump’s vernacular in an openly racist bid to change the subject.

Trump also undercut any ostensible focus on China by picking unnecessary fights with the United States’ regional partners. U.S.-South Korea and U.S.-Australia relations, for example, sank to their lowest point in years as Trump picked fights with their leaders because he wanted a payoff for the U.S. alliance guarantees.

Realism values allies for their ability to share burdens, project power, and generate global coalitions. Trump does not seem to grasp that at all. When Trump backed off his criticism of Japan, the turning point was apparently then-Prime Minister Shinzo Abe’s relentless flattery, including giving Trump a gold-plated golf club, rather than any strategic reevaluation by Trump or his team. Such frippery is exactly the opposite of the cold calculation that we associate with realism.

Trump also sank the Trans-Pacific Partnership (TPP) and all but dropped earlier U.S. rhetoric about a pivot or rebalance to Asia. Were China a threat that Trump took seriously, then building a tighter trade area among the United States’ Asian partners would be a smart move to pool local allied economic power and build patterns of administrative coordination among those partners. Indeed, that was the rationale behind TPP and the “pivot” to increased engagement in the Indo-Pacific when it was proposed by the Barack Obama administration. Trump did not see that, either; he is obsessed with imposing tariffs, even against allies, which violates the realist tenets that concern allied power accumulation and coordination against shared threats.

Finally, Trump’s admiration for Chinese President Xi Jinping’s autocracy was blatant, and Trump has once again recently praised Xi as his “good friend.” The former U.S. president has spoken approvingly of China’s crackdowns in Tiananmen Square, Xinjiang, and Hong Kong. He solicited Chinese help in the 2020 election, and China happily channeled money to Trump’s family and his properties during his presidency.

Trump clearly craves authoritarian powers at home and is happy to take China’s money. He was happy to pardon Republican lobbyist Elliott Broidy, who was convicted for illicitly acting on Beijing’s behalf. It stretches credulity to suggest that Trump will lead the United States, much less an Indo-Pacific coalition, in a major shift against a power that he admires. China will probably just throw money at him if he is reelected—especially after seeing his U-turn on a TikTok ban, a policy that he backed in his first term but failed to deliver on, after facing pressure from billionaire TikTok investor Jeff Yass.

Little else in Trump’s first term suggests s a thoughtful, realist weighing of priorities: Trump’s most important first-term foreign-policy venture was the attempted denuclearization of North Korea. Unsurprisingly, that effort was amateurish, sloppy, and unplanned—and it failed.

There is a realist argument for reaching out to Pyongyang. The United States’ long-standing policy of containment and deterrence has not changed North Korea, nor did it prevent its nuclearization. North Korea is now a direct nuclear threat to the U.S. mainland. A realistic foreign policy would accept that as an unchangeable fact and react to it. Perhaps a bold move by a risk-taking statesman could break the logjam.

Trump might have had the chance to pull this off, but he failed due to his own lack of discipline. Trump did not prepare for his meetings with North Korean dictator Kim Jong Un; instead, he simply walked off the plane and thought his New York tough guy shtick would somehow bowl over a man raised in the crucible of North Korea’s lethal family politics. There was no interagency process to build proposals ahead of time, nor any kind of realistic, measured deal that could have won over Pyongyang.

According to John Bolton, then Trump’s national security advisor, the president did not even read in preparation for the summits. Instead, Trump demanded the complete, verifiable, and irreversible nuclear disarmament of North Korea in exchange for sanctions removal, then walked out of the Hanoi summit when Pyongyang predictably rejected this wildly unbalanced so-called deal. Talks collapsed because Trump had not prepared and had no idea how to bargain on the issues when his first offer was rejected.

But Trump did get what he really wanted—lots and lots of publicity. His hugely hyped—and criminally underprepared—first summit with Kim in Singapore brought a week of nonstop news coverage. His later trip to the Demilitarized Zone, which included briefly walking inside North Korea, brought another wave of coverage. Trump even demanded that he receive the Nobel Peace Prize. This is showboating, not strategy.

The big issue in the realist case for Trump and Vance is that they will put Taiwan explicitly ahead of Ukraine in a ruthless prioritization of U.S. interests. As Andrew Byers and Randall Schweller write, Trump “understands the limits of American power.” From this perspective, the United States cannot reasonably hope to fight Russia and China simultaneously, much less a coordinated “axis” of those countries working with rogues such as Iran and North Korea. This notion is particularly connected with Vance, who has explicitly advocated abandoning Ukraine.

Yet Trump himself does not think this way. Trump’s supposed policy positions emerge on the fly as he speaks. He is lazy. He is not capable of the strategic thinking that realists want to attribute to him; one must only listen to his campaign speeches this year to see this. He routinely lies, makes up stories, and speaks in indecipherable word-salads. When Trump has spoken on Taiwan, he makes it clear that he sees it as just another free-riding ally that owes the U.S. protection money. In an interview with Bloomberg, Trump said the United States was “no different than an insurance company” and that Taiwan “doesn’t give us anything.”

It stretches psychological credulity to suggest that the United States under Trump will ruthlessly abandon a struggling, nascent democracy under threat by a fascist imperialist, but then abruptly fight for another new democracy under threat by an ever more powerful fascist imperialist. The prioritization of Taiwan over Ukraine misses the obvious precursor that the Middle East, in turn, is less valuable than Ukraine. But instead of reevaluating the United States’ position in the Middle East, Trump will almost certainly deepen U.S. involvement in the region because of the ideological fixations of his Christianist base.

The strategic case for elevating Taiwan over Ukraine is also far more mixed than Vance and Trumpian realists suggest.

First, China is much more powerful than Russia. So, a conflict with it would be far more destructive. The Russia-Ukraine war has been locally contained and, despite Russian bluster, not escalated to nuclear confrontation. That seems less likely in an open, U.S.-China war. It is an odd “realist” recommendation to suggest that the United States should take a provocative line against a stronger power, which increases the risk of great-power war, but not push its preferences on a weaker opponent where U.S. involvement is limited to a lower-risk proxy war.

Second, the U.S. commitment to Ukraine is much less costly than a parallel commitment to Taiwan. The United States is not fighting directly to defend Ukraine. It would have to do so to defend Taiwan. Taiwan defense would require the United States to project enormous force over a huge distance of open water at great expense—plus, there would be combat losses of major U.S. platforms, such as ships and aircraft.

By contrast, U.S. aid to Ukraine has mostly come in the form of money and midsized, ground-based platforms, totaling around $175 billion over two-and-a-half years. This is small and easily manageable because of NATO’s propinquity. U.S. national security spending is approximately $1 trillion annually; the country’s annual economic production is approximately $25 trillion. Notions that U.S. aid to Ukraine is an unsustainable overstretch, or that it is bolstering another “forever war,” are simply not correct.

In Ukraine, the United States is also using intelligence assets and coordination relationships with NATO allies that have long been in place—and resources that have little relevance to a Taiwan conflict. Washington is not going to engage the Chinese army in ground conflict, just as it does not need U.S. aircraft carriers to help Ukraine. As a specific example of a possible trade-off, Vance has suggested the United States lacks the artillery shell production capacity to meet both national defense needs and those of Ukraine. But that argument implies abandoning Ukraine today for an unidentifiable but apparently imminent U.S. ground war tomorrow.

Realist hopes for Trump and Vance assume an intellectual discipline that both men lack and elevate geopolitical trade-offs that are less acute than realists admit., Trump is lazy, unread, venal, easily bought, susceptible to autocrats’ flattery, captive to the ideological fixations of his domestic coalition, ignorant of U.S. strategic interests, and dismissive of alliances that amplify U.S. power. Vance is ostensibly more clear-eyed, but he is a foreign-policy neophyte in the pocket of Silicon Valley donors, including his mentor Peter Thiel. He has been a senator for less than two years, before which he was a financier and author whose interests were local.

The fiscal space to reorient U.S. defense spending is there. If Vance and Trump were truly serious about confronting China, they would not be proposing yet another massive Republican tax cut, for example. The traditional liberal internationalism Vice President Kamala Harris and President Joe Biden represent is far more likely to build a durable global coalition against Chinese and Russian revisionism than the venal caprice masquerading as strategy that Trump would bring back to the White House.

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justinspoliticalcorner · 1 month ago

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Biden Administration blocks sale of US Steel by Nippon Steel

Jeff Stein and David J. Lynch at Washington Post:

President Joe Biden’s decision to block Nippon Steel’s proposed purchase of U.S. Steel was a political act made in “clear violation of due process and the law,” the two companies said Friday, signaling that a courtroom fight is imminent. The government’s review of the deal “was deeply corrupted by politics and the outcome was predetermined, without an investigation on the merits, but to satisfy the political objectives of the Biden White House,” the two companies said in a joint statement.

The companies said they were “left with no choice but to take all appropriate action to protect our legal rights,” reiterating earlier warnings that they would go to court to challenge a presidential rejection. Biden’s rejection of the dealcame in a presidential order posted on the White House website, declaring Nippon Steel’s $14.9 billion bid for the U.S. steelmaker “prohibited.” In a statement accompanying the order, the president said the nation would be “less strong and less secure” without a U.S.-owned steel industry. “This acquisition would place one of America’s largest steel producers under foreign control and create risk for our national security and our critical supply chains,” Biden said. Biden opted to kill the deal despite intense efforts in recent days by some of his senior advisers, who warned that rejecting a sizable investment from a top Japanese corporation could damage U.S. relations with Japan.

Nippon Steel and U.S. Steel had previously vowed to pursue legal action against the government, claiming it failed to follow proper procedures during its consideration of the acquisition. The president’s action comes after a Dec. 23 report by the interagency committee responsible for reviewing foreign investments in the United States for potential national security concerns. The Committee on Foreign Investment in the United States (CFIUS) said it was unable to reach a consensus on the risks of the Nippon Steel deal, leaving the final verdict with the White House. In its final evaluation of the transaction, the committee warned that after buying U.S. Steel, Nippon Steel could reduce domestic steel output and pose “risks to the national security of the United States.” Among the industries hit hardest in that case would be the transportation and energy sectors, said the panel, chaired by Treasury Secretary Janet L. Yellen.

[...] Biden had planned in September to block the deal. But after Democratic officials in Pennsylvania raised alarms about potential economic and political costs in that critical swing state, he agreed to postpone the decision until the presidential election was finished.

[...] The collapse of Nippon Steel’s proposed $14.9 billion acquisition represents a victory for United Steelworkers union president David McCall. A fourth-generation steelworker who rose to lead the union following the 2023 death of his predecessor, McCall objected to the deal from the moment it was announced in December 2023. At the time, Nippon Steel said it wanted to buy U.S. Steel to benefit from the industrial revival spurred by Biden’s economic policies. The president’s signature legislative achievements — the 2021 bipartisan infrastructure law, semiconductor industry subsidies and the 2022 Inflation Reduction Act’s clean-energy projects — were driving steel demand higher. And U.S. tariffs made it more profitable to produce industrial metals here rather than import them from Japan.

[...] U.S. Steel’s next step is not clear. The Pittsburgh-based steelmaker could resume its search for a buyer. Previous bidders include Cleveland Cliffs, the second-largest domestic steel producer, which offered $7.3 billion to acquire the company in 2023. U.S. Steel also could opt to proceed as a stand-alone company. But CEO David Burritt already has warned that it lacks the financial resources needed to reinvigorate some of its aging blast furnaces in Pennsylvania’s Mon Valley and in Gary, Indiana.

Smart move by President Joe Biden (D) to block the purchase of US Steel by Nippon Steel.

#Joe Biden #Biden Administration #Nippon Steel #US Steel #Workers' Rights #Economy

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nnaalluuaarxv · 1 year ago

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source

Matangi (2013) Booklet

Artist: M.I.A. Production: Danja, Hit-Boy, M.I.A., Doc McKinney, The Partysquad, Sugu, Surkin, Switch Label: N.E.E.T., Interscope

❝ (...) Its title is a variant of M.I.A.'s real first name and references the Hindu goddess Matangi. The lyrics feature themes related to Hinduism, including reincarnation and karma, and the music blends Western and Eastern styles.

The album's release was originally set for December 2012 but it was delayed multiple times; in August 2013, M.I.A. threatened to leak the album herself if the label did not finalise a release date. The first single, "Bad Girls", was released nearly two years before the album. (...) Matangi received largely positive reviews from critics and was included in several publications' year-end lists of the best albums of 2013. Its chart peak was lower on the main album chart of both the UK and United States, although in the U.S. it topped the Dance/Electronic Albums chart and reached the top ten of the Top Rap Albums listing. It also charted in other countries, including Australia, Belgium and Japan. ❞ — wikipedia

#music #design #2010s #m.i.a.#mia #matangi #matangi album #album booklet #album art #album artwork #booklet #booklets

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aumarchive · 10 months ago

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Interview with Nakayama Hisashi, former member of Hikari no Wa (Aum Shinrikyo branch)

cw: cults, domestic violence, sexual manipulation, conspiracy theories, verbal abuse

Do not harass anyone mentioned here. I'm only citing Mr. Nakayama's name and website because he let me do so.

Do not tag as true crime

Originally posted on Reddit by me

Matryoshka dolls are a well-known symbol of Russian arts and crafts; a majestic doll that, by the hands of others, is forced to reveal itself smaller and smaller until, finally, its tiny, hollow interior becomes visible.

Though they have dozens of tales attached to their creation and meaning, none of it is grounded on reality: these dolls were invented pretty recently with fully comercial purposes. Matryoshka aren't exactly meaningful for their land's mythology, nor original. But at least they're cute and saleable.

So is Fumihiro Joyu, ex-spokesman and executive of Aum Shinrikyo.

Joyu is the kind of person who will never run out of stories to tell about; graduated from Waseda University, one of Japan's most prestigious institutes to this day, he quickly lost interest on the labour market and used his knowledges in a new, weird yoga classroom, which would later become the infamous Aum Shinrikyo. And Aum surely got Joyu busy; he served as a spokesman, public relations representative, head of Aum's russian branch and almost as one of its men of action: in 1993, he attempted to spread anthrax in Kameido, Tokyo. It failed miserably.

But he only became infamous in 1995, when he defended the cult against allegations that they were responsible for the subway sarin attack at all costs. His devotion didn't earn him any prestige, just a lot of fans willing to steal and auction off his dirty socks and a saying attached to his name: ああいえば上祐 (Aa ie ba Joyu, which roughly translates to "If you say so, Joyu"). After being sentenced to three years of prison in late 1995 due to charges of perjury and forgery of private documents, he declared that "Master Asahara is a guide, a savior, and everything to me". It seemed unlikely that his adoration would be shaken.

But after being released from prison in 1999, it seemed that Joyu had a change of heart. He didn't leave Aum (in fact, Joyu became its De Facto representative under the name Aleph), but tried to reform it, reflect on its multiple incidents and eliminate Asahara Shoko's influence. In 2007, after a series of conflicts with Asahara's wife, children, and other executives, Joyu announced he was going to leave Aleph and launch a new organization: Hikari no Wa. According to its website:

Hikari no Wa is not a religion. This is a classroom where you can learn the wisdom and philosophy of happiness from the East and the West, including Buddhist thoughts, meditation methods, and modern psychology, without believing in a specific guru, god, or sect.

The classroom, of course, was met with protests and doubts. The U.S Department of State only lifted its designation as a terrorist foreign organization (TFO) as late as 2022, and Japanese police still surveils it.

Since then, despite still being considered a controversial figure, Joyu has made attempts to clear his image; according to Hikari no Wa's website, the classroom pays compensation to the victims of the subway sarin attack, deprogramms Aleph believers and apologises for its representative's former criminal activities. Joyu also seems to have invested in unusual methods of self-promotion, such as taking part in a hiphop EP where he sings while an edit of the 1995 subway attack plays in the background. He also published a book on how to identify dangerous cults despite his status as a potential cult leader.

There is very little information about Hikari no Wa in English. Its only known activities are events and speeches about spirituality held by Joyu himself, its alleged "Aum liquidation" and its "Pilgrimage to Sacred Places".

However, around February 2024, I stumbled upon a fairly obscure site: stop-hikarinowa.com. According to itself, its purpose is to:

Ask Hikari no Wa to disband.

Promote the exchange of information and people-to-people exchanges on the issue of Hikari no Wa.

Provide support for Hikari no Wa members to withdraw from membership.

Disseminate information to society about the problems of Hikari no Wa.

In addition, we will carry out all activities that we deem necessary for issues related to Hikari no Wa and Aum Shinrikyo.

It also claims Hikari no Wa is, in fact, a cult:

Just like Asahara in Aum Shinrikyo, I think it boils down to the fact that Joyu is in control of everything in Hikari no Wa. It's true that Hikari no Wa changed its doctrine because it wanted to get rid of probation, and it also said that it was a philosophy and thought class. All of the reforms that have been carried out over the past 10 years have been carried out at the discretion of Joyu. This fact proves that it is possible to return to the doctrines and operations of the past with the sole intention of Joyu. As long as he's under inspection, he can't do anything as crazy as Aum (and this is the same for Aleph), but if it were to be removed, no one would be able to stop him from running wild like he did with Aum. The guru becoming a dictator is common to other cults, but if a cult that has crossed the line in the past is allowed to go unchecked, it will be a different danger than other cults. The danger of Hikari no Wa varies greatly depending on what happens to the government's surveillance, but at least it seems that it is an organization that cannot guarantee even safety without national surveillance. * On "Frequently Asked Questions"

I contacted its representative, Nakayama Hisashi who's both a former Aum believer (from 1996 to 2007) and a Hikari no Wa one (from 2007 to 2016) and managed to interview him on March 30, 2024.

The interview go as follows:

Q: Tell us about yourself. You joined Aum to find out more about its practices, but what made you stay for such a long time? A: It was cosy. Aum believers are serious and selfless, so it was really healing to talk to such people.

Q: From what I have read, despite precarious living conditions, including poor diet and cockroach-infested flats, Aum believers formed a strong sense of community. What was daily life like when you joined the organisation? A: Food was considered a bother, and the idea was that it was good if you could get the minimum amount of energy. Even cockroaches were souls that were trying their best to live, and we looked after them with compassion. Such different values from the world were fresh and a strong sense of community existed. It was a similar life in Aum and in Aleph. In Hikari no Wa we secularised, so the ordained people remained Aum, but they disliked the filthy environment.

Q: When did you first come into contact with Joyu? What was your first impression of him? A: Around 2005. My first impression was that he was a hard-working practitioner.

Q: Were you aware that he was at odds with the Asahara family? Were there any tensions within Aum in the late 2000s? A: Initially I did not know that there was a conflict. Inside Aum, the explanation was that Joyu was in training, so I didn't think there was a conflict. Believers like me were not informed of anything. When Joyu came out of prison and the Group Regulation Law was passed, believers though Aum was going to be destroyed, so there was a sense of tension, and although there were people who opposed Joyu's methods, none of us thought that there would be a split later on.

Q: When Hikari no Wa was formed in 2007, why did you join it instead of staying with Aleph? What convinced you? A: Because they sympathised with the idea of social reconciliation by acknowledging the incident. And I was banned from Aleph for having contact with Joyu.

Q: What were the first days of Hikari no Wa like? I have seen a video from around 2009[1], and it seems that many people protested its existence. A: Hikari no Wa was not trusted at all, even if they said they were reflecting on Aum. I thought that if I reflected sincerely, society would one day understand me. Perhaps it was only the believers who were deceived by Joyu's words that he had reflected on his life.

Q: What was your daily life like? Did you go to work or interact with normal society? Did you talk to family and friends? A: I moved from one job to another and worked on construction sites for a long time. I told my family about it, but my wife was vehemently against it, so I didn't talk much about being a believer. Once I mentioned that I was a member at work, but I was discriminated against so quit my job. Since then, I stopped talking about Hikari no Wa to my friends. But I did have normal social interactions outside of the classroom.

Q: I assume you are familiar with the B.I.T.E model, which lists cult behaviour. Let's use it to ask some questions. To what extent was your personal life regulated by Hikari no Wa? Was your diet, social or sex life regulated by the cult, or did you need permission to make major decisions? A: I was a noisy believer [laughs], so I was never dominated by the cult. But they were giving detailed instructions to other people on how to spend their money. I would immediately announce it on social media, so I guess the cult was also cautious. It seems that I was treated differently from the others.

Q: I watched some videos from Hikari no Wa's Youtube channel[2] and they seem to travel frequently. At the same time, they pay compensation to Aum victims. I wonder if a tremendous amount of money is being taken from its believers, or if Joyu is making money in other ways. A: The pilgrimages are a means of collecting large sums of money from believers. Devotees are desperate to join in (laughs). "Why is it so expensive?" I asked him, and he excused himself by saying, "Because I'm compensating them". Compensation is the excuse for the high participation fees. But we couldn't operate on that alone, so some of our staff went out to work, and I think we took a lot of money from the rich and quiet believers.

Q: Hikari no Wa page claims to be a place to learn psychology and natural doctrine, without any religious elements. Is this true? Joyu is not licensed to talk about psychology, and he seems to be getting increasedly incoherent. A: I was confused too. In the classroom, I was reading sutras and doing zazen[3]. And then they said, "It's not a religion", so I thought they were deceiving the world. I think that Joyu himself probably doesn't know what he is doing anymore (laughs).

Q: I saw you accuse Joyu of still being an Aum believer and simply hiding Asahara. Can you elaborate on that? A: When I left Aleph, Joyu said to me: 'I will surely share my reincarnation with the Venerable Master (Asahara). So if you follow me, you will surely meet the Venerable Master again." In other words, following Joyu means that no matter how much you deny Asahara, you are recognised in the doctrine of Aum. Joyu still does not deny reincarnation; if there is reincarnation, then Joyu and Asahara will meet again, and people who are closely related to Joyu will meet Asahara again. The only way to deny this is to deny reincarnation or to dissolve the organisation and live modestly. Because of this idea, everything that Joyu says and does to get people to recognise him is to hide Asahara. There's no retraction or apology to his followers for what he said at that time. I don't think he is remorseful at all.

Q: Wait, that's big! Do you have evidence? A: It was just my experience because it was in a private conversation. I've told the public security authorities and I also think it's evidence for the renewal of my observation, but it's just my testimony, I don't think it's evidence.

Q: That is unfortunate, but I still think it stands out. From reading various discussions of yours, it seems that there is sexual manipulation going on within Hikari no Wa. Can you tell us a bit more about it?" I saw terms such as "sexy business". A: It's a technique known in Japan as 'shirokoi business'. In Aum, love was also an affliction, but having romantic feelings for the Venerable Master (Asahara) was considered a good thing. Intense romantic feelings of wanting to be recognised by the Master and to keep him to oneself were considered to be a form of faith. Joyu frequently appeared in the media during the Aum Affair, which gave rise to a group of fans called "Joyu Gals". Such Joyu fans started coming to Hikari no Wa. Not only 90s Joyu fans, but also new fans are still coming to Hikari no Wa through YouTube and events. They are taking money by cleverly utilising such fan psychology and romantic feelings. The method is to stimulate women's romantic feelings and dominate them by saying, for example, "I have a connection with you from the past". In Japan, there are 'host clubs' where men entertain women, and the sales method is similar to this. Although there was only one victim, I was consulted by a victim who said she actually had sexual relations with Joyu. But at the strong request of the victim, we don't really take it up.

Q: I have also read that Joyu is prone to domestic violence, please elaborate on this. A: Joyu has a strong desire for control, so he would yell at staff and others when he didn't like something, and sometimes beat them up. When I asked someone who was actually hit, he said that he had his karma taken away (laughs). I think this is a typical example of Aum thinking, which is pro-violence. I criticised him a lot, so I don't think he does violence now, but I think he still uses words to corner his opponents. Joyu has a male-dominated mindset, so his desire for domination over women is particularly strong, and I think it tends to lead to violence.

Q: Have you witnessed physical or verbal violence? or have you been subjected to violence? Again, there is no intention to invade your privacy. If you do not wish to answer, you do not have to. A: I have never been hit directly. However, when I quit, I was verbally abused. I saw him shouting at staff on many occasions. Old believers know this all too well. He didn't have any anger control at all (laughs).

Q: Why did you start to leave Hikari no Wa? Did other members also quit? A: I loved Hikari no Wa, not Joyu, so I wanted society to be a comfortable and secure place for the followers who gathered there. In reality, however, the believers were only paying money and being used. I wanted to reform that, but I couldn't do it and was forced to quit. I was also exhausted, so it was probably just as well. There were more than 100 staff members at the time of the Aleph Joyu Faction, but by the time Hikari no Wa was established, there were only about 60, and now there are less than 10. Those who had survived Aum and Aleph gave up on the Joyu and quit. Originally, Aum was a cult with two sides of the same coin, and only those close to them would have known the true nature of the guru, but as it became smaller and smaller, I think the number one reason is that the true nature of Joyu could not be hidden and came to the surface (laughs). The same is true of Aleph, as the closer to Asahara you were, the less you remain in Aleph. The only people left in Aleph now are people who don't know Asahara directly. The same is true of Hikari no Wa, who fled as they learnt about Joyu's character. People who found out that he was the king of the naked left. Conversely, the staff who remain now are people who don't want to admit that Joyu is naked, so they may no longer run away. It's pitiful.

It's important to note that, in July 11th 2018, it was revealed Joyu witnessed the murder of a female believer[4] back in 1991, though he didn't say anything until he could no longer be charged for it, and he still avoids this topic. Nakayama says:

After I left, it was revealed after Asahara's execution that Joyu had left female followers to die during his Aum days and had been covering it up for a long time. When I found out about the incident, all the slight remaining feelings I had for Joyu were gone. I thought that everything I had been working on with hope, saying that I would reflect on the incident, was a lie. I now seriously hope that the cult will be disbanded.

Moving on.

Q: Sorry to digress, but I was very interested in Hikari no Wa's instance on science. Joyu often talks about psychology, even if he's not licensed to talk about it. And he apparently gathered at events without masks during the pandemic. A: Right. What the Joyu says publicly, he says it with an awareness of what society will think of him. He pretends to be a sensible person. But in his true feelings, he thinks completely differently, and what he says and what he does are completely different. If you look at what he does, not what he says, you can see what he really thinks.

Q: Sorry to be too straightforward, but is Joyu a conspiracy theorist? I'm not talking about extreme and flash cases like Qanon. It's about things like "this disease can be cured with X, Y and W" A: He has not been vaccinated. This may be because he believes that vaccines are not desirable from a parrot doctrinal point of view and that if he practices, he will not get infected. I don't want to call it a conspiracy theory, but I think he thinks that practising is a better way to fight infection than vaccines or medicine.

Q: That's bad. Do believers have the freedom or critical skills to get themselves vaccinated? A: It might be different for different people. Maybe many people think the same way as Joyu. That is, that practice is more effective than medical treatment. If Joyu would be asked by his followers, he would not deny the vaccine, but he would not dare to recommend it either. Since many people are dependent, I think many of them would not take the vaccine themselves if Joyu had not taken it.

Q: Sorry to change the subject again, but there is one more thing I wanted to know. I browsed through some of the accounts and posts and found screenshots of Joyu himself talking about and endorsing Vajrayana[5]. One of them was yours[6]. Is it authentic? A: I always think about the risk of a court case when I send out screenshots, so I don't fake it. Hikari no Wa always say it'll go to court and then ask me to delete it.

And, then, the interview ended. I had more to ask, but it was 3 AM and I didn't want to waste more of Mr. Nakayama's time.

It's important to note that all of this is simply alleged and I'm solely giving voice to a former member. Joyu has still a large platform, with around 17k followers on Twitter, and appears on documentaries and interviews as an cult expert of some sorts. It's not uncommon for former cult members to study about it later on, but Joyu didn't go through any deprogramming initiative, not even during his time in prison. And, of course, it's certainly unusual for an ex-believer to establish a "non religious' (though with holy pilgrimages) and "non guru centered" (though he's the only member with an online presence) organization.

Do not track and harass former Aum/Hikari no Wa members. Mr. Nakayama gave me permission to say his actual name and site, but this experience has been traumatic to many people.

During my research, I found a quote associated with Joyu in some foruns and websites, but couldn't find any proof it was actually his nor the context in which it was supposedly said.

A snake that doesn't shed its skin will die

Matryoshka are self aware, I guess.

#aum shinrikyo #interview #spiritual abuse #cult mention #organized abuse #pipeline #cw antivax

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