#kim myeong hee

[alltomevibes]

so there's gonna be a kidnapping day s2, right, because the way the last episode ended....

[passionforfiction]

The Fabulous

I frankly don't know where to start., so I'll be blunt: I didn't like this series. I forced myself to finish it and I skipped episodes - and mind you, this was an 8 episode series. It was the combination of poor storyline, character development and representation. The characters come off as frivolous, the gay characters feel like a stereotyped caricature that felt cringy at times. And I just couldn't connect with any of the characters. It annoyed me that Pyo Ji Eun could forgive and give a second chance to Lee Nam Jin who insulted her when they broke up, but she couldn't forgive and give a second chance to her friend and ex-boyfriend because she couldn't see how he expressed his feelings for her. These characters are static, there is no true growth in them. At the end of the series they are the same as they were in the beginning.

The plot felt superficial too. It could have worked if there had been some depth to the conflicts that could truly make the characters do some growing; for example Ye Seon Ho's situation as a model. This could have been explored more. The conflicts are all triggered by the whim of celebrities, rich people or influencers. Shim Do Young is supposed to be the cute boy trying to make it in the fashion industry and he comes off as annoying and shallow.

Thierry's story could have been a nice subplot but they turned that character into the biggest caricature of the set of characters.

It's a pity because the cast has some really good actors in it, but they were not able to bring to life characters that the audience could connect.

I truly don't recommend this one. There are other series about fashion that are much better.

Poster from Kpopmap - https://www.kpopmap.com/fabulous-2022-drama-cast-summary/

[moviesandmania]

BADLAND HUNTERS (2024) Korean sci-fi action horror with Don Lee soon on Netflix

‘Hunt or die. Welcome to the badlands.’ Badland Hunters is a 2024 Korean sci-fi action horror film in which Seoul is transformed into an apocalyptic wasteland after a major earthquake. The survivors in this new dystopian world are led by a tough hunter (Don Lee) who fights for survival and salvation. Directed by Heo Myeong Haeng from a screenplay co-written by Kim Bo-Tong and Kwak Jae-Min.…

[cosmosbeelover]

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

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

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

Suspicion of death

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

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

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

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

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

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

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

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

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

Mediatization and Legacy

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

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

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

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

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

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

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

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

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

Posthumous Albums

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

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

Discovering the Hymn of Death Album

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

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.

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.

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

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

S.E.S. Bada - Immortal Songs

Musical actor Min Woohyuk

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.

-------------------------------------------------------

You are not Alone

Samaritans Helpline Number - 116-123 Emergency number - 999

[buldakdrama]

5 KDramas to Watch if You Want to See Female Villains in Action

There are three main elements to make a Kdrama worth watching - the main leads, the execution of the storyline and the villains. You can’t deny the fact that villains like Jung Joon Ho and Imoogi have made the courses of the dramas even more exciting and enthralling to watch. Villains have sometimes made us hate them with all of our hearts, sometimes they silently secured a place in it (just like Jung Guen Won from Itaewon Class). 

When it comes to Kdrama villains, they are mostly male but that doesn’t mean Korean Industry has not gifted us some of the cruelest and toughest female villains. And if you are yet to enjoy one of these bone-chilling female villains of Kdrama, then you are at the right place because today we have brought 5 deadliest yet underrated female villains for you to enjoy.  

1. Park Yeon Jin - The Glory

There is hardly anyone who has not watched The Glory yet. The drama deals with sensitive themes like high school bullying, abuse of power and money, infidelity and so on. And when a drama is mainly dark themed, the actors playing these dark roles need to be talented enough to pull the roles perfectly without leaving any loopholes. Lim Ji Yeon here plays the role of Park Yeon Jin, who is the leader of the bully group. She is a spoiled teen brat, who abuses her power and money to get away with her wrong doings. She constantly bullies Moon Dong Eun, pushes another student from the rooftop, kills one of her notorious friends, cheats on her husband and what not. She has all the ill-qualities that will make you hate her from the core of your heart. But her character and Lim Ji Yeon’s ability to blend with the role, makes the drama much more enjoyable and thrilling. So, if you have not watched it, you should give it a try but proceed with caution since there are triggering concepts.  

2. Choi Myeong Hee - Vincenzo

Everything I try to write about Choi Myeong Hee will fall short. The way we all wanted to kill her while watching Vicenzo is proof of the ability of Kim Yeo Jin in portraying this evil lawyer, who is also Jung Joon Ho’s ally. She’s nasty, she is evil, she is cruel, even her accent will tick you off very badly. But we have to admit to the fact that the drama would not be as marvelous as it is without her character in it. She constantly commits many wrong deeds only to gain more and more power. However, we must admit that we all have been quite impressed by her zumba dancing skills anyway. 

3. Cha Moon Suk - Lawless Lawyer

The character of Cha Moon Suk is the perfect example of two-faced. This Lawless Lawyer villain appears to be all noble and caring but she is actually corrupt and greedy. Lee Hye Young plays the role of a senior judge, who secretly runs a corrupt charity and spares absolutely no one who comes in her way. She doesn’t even hesitate to kill her dear friend nor does she show mercy for her long-time right hand man Ahn Oh Joo. She’s driven by her greed and can do anything to attain more power and money. In my personal opinion, her character and awesome screenplay is probably the only thing that makes the drama worth watching, as for me, both of the main leads could have portrayed themselves a lot better. 

4. Kang So Young - School 2015

Here comes another bully, Kang So Young from School 2015. Cha Soo Hyang plays this character of this spoiled teenager Kang So Young who finds great pleasure in bullying her orphan classmate, Eun Bi. Her bullying goes so far that Eun Bi is pushed to the verge of death. However, Kang So Young feels no remorse. As the drama goes, she gets even more evil as she does not show any sign of leaving Eun Bi alone. She does not even regret her choices and uses her parent’s power to get away with everything. However, at the end of the drama she reflects upon her choices and apologies to Eun Bi. But that does not mean her character is easily forgiven, am I right? 

5. Choi Yoo Jin - The K2

Here comes our last and my personal favorite pick, Choi Yoo Jin from The K2. Even though Yoo Jin’s character is not the villain but an antagonist, still she is a deserving candidate for this list. Song Yoon Ah plays the role of Choi Yoo Jin, who is a woman of mid 40s, she is also a daughter from a chaebol family but is disinherited. Her father disowned her because she married a politician. And guess what, that same husband, goes behind her back every night and cheats on her on a daily basis. She is also the CEO of JSS Security, which is responsible for her presidential candidate husband’s security. Her character certainly makes some bad choices, such as separating her step-daughter from her husband and using her constantly to blackmail the man, but she is the one to hurt the most as well. 

Even though her relationship with her family and husband is dianted and she is mostly used for money, she gives her everything to keep his husband’s image spotless. She grows a fondness, dare I say romantic feelings, for Kim Je Ha (Ji Chang Wook) but that too is quickly shut down as the main female lead comes into the picture. All in all, she may seem to be an evil woman but she actually is a victim of fate and betrayal, which is understandable. Song Yoon Ah’s incredible acting and her on screen chemistry with Ji Chang Wook is one of the primary reasons why you should watch the drama if you have not already. 

That was all for today, we will come with another recommendation post, sooner than you think. 

– Admin Nika

[papaya2000s]

Master List:

The posts listed below are all my own, except for the fanfics, which include original links to the sources where I discovered them, giving credit to the respective creators and writers of their work.

Old Korean Movies:

Emergency Act 19 (긴급조치 19호) - (08/08/2024)

Let's Meet at Walker hill (워커힐에서 만납시다) - Coming Soon!

Crossroads of Youth (청춘의 십자로) - Coming Soon!

The History of Korean Acts - 1900s-Now:

History of Korean music over the past century.

The History of Korean Male Groups (Rewrite):

Part 1 - (13/08/2024)

Part 2 - (21/08/2024)

Part 3 - (29/08/2024)

Part 4 - (29/08/2024)

Part 5 - (15/09/2024)

Part 6 - In the Works!

The History of Korean Girl Groups (Rewrite):

A preview on what groups will be mentioned down below. This series will be coming out in the later part of next year.

Coming Soon!

Korean Soloists from the 20th Centaury:

Enjoy the history of some of famous Korean performers that lived in the 20th centaury that have been lost with time.

Female:

Yun Sim Deok/ (Rewrite 1, 2) - (29/04/2024)

Lee Ari Su - (05/03/2024)

Kim So Hee - (05/10/2024)

Park Nok Ju - Coming Soon!

Lee Hwa Jung Seon - Coming Soon!

Jeon Hae Nam - (13/10/2024)

Male:

Kim In Sik - (21/09/2024)

Choi Nam Seon - Coming Soon!

Lee Eun-sang - (27/09/2024)

Hyun Je Myeong - Coming Soon!

Lim Dong Hyeok - Coming Soon!

Kim Saeng Ryeo (Part 1, 2) - (11,16/12/2024)

Lee In Beom - Coming Soon!

Kim Seong Tae - Coming Soon!

Jeong Jeong Ryeol - Coming Soon!

Im Bang Ul - Coming Soon!

Han Seong Jun - Coming Soon!

Kim Min Ik - Coming Soon!

Photo Collection of Kisaeng's:

All photos below have been AI enhanced for a more clear viewing (there may be some errors in the pictures).

Part 1 - (17/07/2024)

Part 2 - (17/07/2024)

Part 3 - (17/07/2024)

Part 4 - (21/07/2024)

Part 5 - (21/07/2024)

Part 6 Finale - (24/07/2024)

Women considered to be the most beautiful in Korean History:

More than a century ago, a remarkable group of women known as Kisaengs captivated the elite with their captivating performances, without ever compromising their dignity.

These extraordinary women, often referred to as the celebrities of their era, were renowned for their beauty and talent, as evidenced by historical records that ranked the most enchanting kisaengs of that time!

Part 1 - Oh San-wol (오산월) - (11/07/2024)

Part 2 - Jang Yeon Hong (장연홍) (1) - (14/07/2024)

Part 3 - Jang Yeon Hong (장연홍) (2) - (16/07/2024)

Part 4 - Coming Soon!

The Birth of Korean Girl Groups Preview:

A preview on what girl groups I'll be posting in my series on 'The History of Korean girl groups'.

Part 1 - 1900s-1945 - (28/04/2024)

Part 2 - 1950s - 1960s - (28/04/2024)

Part 3 - 1960s - 1962 - (28/04/2024)

Part 4 - 1963 - 1965 - (28/04/2024)

Part 5 - 1965- 1966 - (28/04/2024)

Part 6 - 1967-1960s - (28/04/2024)

Part 7 - 1970-1972 - (02/05/2024)

Part 8 - 1974 - 1981 - (09/05/2024)

Part 9 - 1983 - 1987 - (09/05/2024)

Part 10 - 1989 - 1997 - (09/05/2024)

Part 11 - 1997 - (09/05/2024)

Part 12 Final - 1998 - 2000s - (09/05/2024)

Michael Jackson & Friends Korea, Seoul:

S.E.S: Part 1 and Part 2

H.O.T: Coming Soon!

H.O.T Kangta - Atlantis: The Lost Empire 2001

H.O.T Kangta - Dreams and Faith - (27/07/2024)

Ensign O'Toole - TV Series 1962-1963

Summary & Ep 1-12 - (26/10/2024)

Ep 13-32 - In the Work!

Korean Albums:

Season 1 will be about the 80s as it's one of my favourite music decades.

Episode 1 - (13/11/2024)

Episode 2 - (15/11/2024)

Episode 3 - (23/11/2034)

[thepastisalreadywritten]

— Kim Myeong-Jun (played by Yoon Kye-Sang) and Choi Ro-Hee (played by Yu-Na)

The Kidnapping Day (2023)

[cercasinomeworld]

30 Days Kdrama Challenge

Day 10 - Favourite second lead couple

Seo Dae-young x Yoon Myeong-Joo (Descendants of the Sun)

Lee Gang-mu x Jang Han-na (Snowdrop)

Grim Reaper x Kim Sun (Goblin)

Ha Jong-ho x Oh In-kyeong (Little Women)

Ji Seo-joon x Song Hae-rin (Romance Is a Bonus Book)

Gu Seung-joon x Seo Dan (Crash Landing on You)

Choi Yoon-hyuk x Dan Moon-hee (Touch Your Heart)

Choe Hun x Oh Ga-rin (My First First Love)

[coreancitizen]

Kim Go Eun stars in “Hero” as Joseon’s final court lady Seol Hee, who witnesses the death of the last empress, Empress Myeong Sung. As an informant for the independence army, Seol Hee is a strong character who gathers key information about Japan to actively support the independence movement. To avenge the nation, Seol Hee hides her identity to approach Ito Hirobumi and covertly carry out her secret mission.

[adelledelacruz]

Youth of May

♡ Kim Myeong Hee x Hwang Hee-Tae ♡

OST: I regret by Houdini

Synopsis: In May 1980, Hee-tae and Myeong-hee fall in love under a whirlpool of chaotic times. Hee-tae and Myeong-hee try to overcome the painful wounds of the past and to start loving each other again.

Genre: Romance, Melodrama, and Costume Drama

No. of Episodes: 12

Original Network: KBS2

Release Date: May 3, 2021 - June 8, 2021

Rating: 10/10

Would Recommend: Yes! I highly recommend this series especially if you want your eyes red and swollen ;)

This drama literally brought me a rollercoaster of emotions from the spectacular directing, the immaculate portrayal of every character, the pure yet tragic love, and the reality of life from the past. However, this drama left me broken to the core. It scarred me deeply and hard. Still, I enjoyed it very much and would definitely rewatch it (only the happy parts of the drama). While watching, I was genuinely in love with Hee-tae's character. He is definitely the ideal man. His lines will literally make you head over heels for him! In conclusion, this drama is a gem even if its ending isn't lovey-dovey.

Credits ♡

Courtesy to @claui___ from Tiktok for the Youth of May edit

Series info: https://asianwiki.com/Youth_of_May

Courtesy to Pinterest for all the photos used

[unnieshimkoongkdramas]

Youth of May - For the Masochist

Youth of May – For the Masochist

Synopsis A beautiful nostalgic romantic drama set in the backdrop of one of the biggest political mess ups in Korea in our time, the Gwanju massacre/uprising which took place in May of 1980. Hwang Hee Tae (Lee Do Hyun) is the pride of his neighbourhood who got into a the prestigious Seoul National University. He meets a nurse, Kim Myeong Hee (Go Min Si) who was pretending to be her best friend,…

[hieloyfuegorpg]

Lista personajes canon

Los personajes que van acompañados de un asterisco (*) necesitan casting. Este será de 10 líneas justificadas.

Para hacerlo mediante Tumblr nos podéis pasar el casting por mensaje directo. Podéis encontrar las normas de petición en el siguiente link:

Si queréis saber antes de la apertura del foro la nueva historia de estos personajes hacédnoslo saber ;)

CULLENS

Carlisle Cullen*

Rosalie Hale*

SWAN

Isabella Swan*

Anabelle Robin*

VULTURIS

Aro Vulturi* - Sulpicia Vulturi*

Cayo Vulturi* - Athenodora Vulturi*

Marco Vulturi*

-----------------------------------------

Alice Brandom Vulturi*

Edward A. Vulturi*

Charlie Swan Vulturi - Renée Dwyer Vulturi

Chelsea Vulturi - Afton Vulturi

Jane Vulturi*

Alec Vulturi*

Felix Vulturi

Demetri Vulturi

Heidi Vulturi

Renata Vulturi

DENALÍ

Eleazar Denalí - Carmen Denalí

Tanya Denalí

Kate Denalí

Irina Denalí

Emmett McCarty*

AMAZONAS

Zafrina

Kachiri

Senna

Esme Platt*

ROMANOV

Stefan Romanov* - Hyun Myeong-Suk *

Vladimir Romanov*

Jasper Whitlock  Romanov*

Cupo de 4 pj para guardia Rumana

HYUN

Stefan Romanov - Hyun Myeong-Suk*

Hyun Hyo-ri

Hyun Sun-hee

Hyun Eun-yeong

Hyun Ha-neul

EGIPCIO

Amun - Kebi

Benjamin - Tia

NÓMADAS

James Witherdale

Laurent Da Revin

Victoria Sutherland

Huilen

Joham

Garrett

IRLANDÉS

Siobhan - Liam

Maggie

NÓMADAS AMERICANOS

Peter - Charlotte

Randall

Mary

NÓMADAS EUROPEOS

Alistair

Charles - Makenna

HÍBRIDOS

Nahuel

Serena

Maysun

Jennifer

AQUELARRE LUZ DE LUNA

Selene Bewitched

Lucas Sefton

Kiran Blocksberg

Natasha Grimhilde

AQUELARRE GUARDIANES DEL EQUILIBRIO

Ethan Hazel

Alexander Maclay

Amélie Dubois

SALLOW

Gabriel Sallow

Kira Sallow

Adam Sallow

Emma Sallow

QUILEUTES

Sam Uley

Leah Clearwater

Quil Ateara

Embry Call

Paul Lahote

Jared

Seth Clearwater

Collin

Brady

HUMANOS

Jacob Black*

Claire

Rachel Black

Rebecca Black

Kim

Sue Clearwater

Billy Black

Emily Young

Tyler Crowley

Lauren Mallory

Mike Newton

Jessica Stanley

Ángela Weber

Eric Yorkie

[ulkaralakbarova]

After a deadly earthquake turns Seoul into a lawless badland, a fearless huntsman springs into action to rescue a teenager abducted by a mad doctor. Credits: TheMovieDb. Film Cast: Nam-san: Ma Dong-seok Yang Gi-su: Lee Hee-jun Choi Ji-wan: Lee Jun-young Han Su-na: Roh Jeong-eui Lee Eun-ho: Ahn Ji-hye Kwon Sang-sa: Park Ji-hoon Teacher: Jang Young-nam Tiger: Park Hyo-joon Yeon-su: Seong Byeong-suk Madame: Jung Young-ju Ju-ye: Lee Han-joo Director Choi: Park Sang-hoon Director Oh: Ahn Seong-bong Ju-ye’s Father: Jeong Gi-seop Ju-ye’s Mother: Kim Young-sun Western Grandfather: Sin Sin-beom Western’s Mother: Hong Yi-joo Film Crew: Production Design: Jo Hwa-seong Sound Supervisor: Kim Suk-won Editor: Nam Na-young Special Effects Supervisor: Jung Do-ahn Adaptation: Ma Dong-seok Lighting Director: Song Hyun-suk Director of Photography: Byun Bong-sun Production Sound Mixer: Jung Gun Producer: Choi Won-ki Makeup & Hair: Nam Ji-soo Special Effects Makeup Artist: Pi Dae-seong Digital Intermediate: Lee Hye-min Production Design: Park Gyu-bin Original Music Composer: Kim Dong-wook Editor: Ha Mi-ra Martial Arts Choreographer: Heo Myeong-haeng Writer: Kim Bo-tong Executive Producer: Byun Seung-min Martial Arts Choreographer: Yoon Seong-min Original Story: Kim Dong-gyun Adaptation: Kim Chang-hoon Writer: Kwak Jae-min Executive Producer: Choi Byeong-hwan Special Effects Makeup Artist: Seol Ha-un Props: Kang Shin-hong Key Grip: Lee Hyun-gyu Special Effects Supervisor: Im Jong-hyeok Line Producer: Choi Su-im Visual Effects: Yuk Gwan-woo Movie Reviews: Chris Sawin: The film features some hard-hitting and explosive action sequences that will rightfully cater to fans of the genre. The battle in the basement of the apartment building, where we see Nam-san use a shotgun to blast his way through some of the doctor’s ‘enhanced’ individuals, is a total exhilarating blast. Ma Dong-seok has been a powerhouse for most of his career post Train to Busan, but he sends people flying whenever he throws his fist or pulls the trigger. _Badland Hunters_ also has to break a record for most decapitations in a film. **Full review:** https://bit.ly/bdlndhntr MovieGuys: Badland Hunters does something things well, others just passably. Action is wall to wall and well choreographed.Special effects are excellent. Characterisations are solid if predictable and the acting is not to be sniffed at. However, the story is unremarkable, with a climax that feels, well, anti climatic. In summary, an okay but hardly exceptional watch, that would have benefited from more creativity on the storytelling front. Ritesh Mohapatra: “Badland Hunters: A Visually Striking Action Spectacle with Narrative Shortcomings” In this post-apocalyptic action thriller, Badland Hunters, while suffering from a repetitive and clichéd plot and uninteresting characters, excels in stunning hand-to-hand choreography and scintillating action set pieces. The film benefits greatly from the expertise of its veteran stunt coordinator turned director, known for his work on Train to Busan. Commendable world-building, visionary concepts, and excellent VFX are hindered by conventional writing. The short, crisply edited runtime avoids unnecessary elements. Don Lee’s exceptional portrayal of Nam-san, with exhilarating action sequences, overshadows the film’s narrative weaknesses, making it a guiltily satisfying popcorn-worthy entertainer, particularly for adrenaline enthusiasts. Instagram & X @streamgenx.

[cosmosbeelover]

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

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

Kyungsung Welfare Chamber Orchestra

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

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

Members of the Gyeongseong Chamber Orchestra in the 1930s.

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

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

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

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

Activities

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

The National Music Popularization Corps/ Total Mobilization Federation

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

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

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

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

People who led the Western music of Gyeongseong Broadcasting Station

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Kim Saeng-ryeo (김생려)

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

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

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

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

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

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

The War of National Foundation (Movie)

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

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

1st Trailer

2nd Trailer

Evaluation

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

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

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

Establishing the 'Naval Military Music Band'

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

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

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

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

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

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

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

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

[movienized-com]

The Day of the Kidnapping

The Day of the Kidnapping (Serie 2023) #YoonKyesang #ParkSunghoon #KimSangHo #HyunWooJi #SeoJaehee #ShinrockKim Mehr auf:

Serie / 유괴의 날Jahr: 2023- (September) Genre: Mystery / Thriller Hauptrollen: Yoon Kyesang, Park Sung-hoon, Kim Sang-Ho, Hyun-Woo Ji, Seo Jae-hee, Shin-rock Kim, Jung Soon-won, Go-Ha, Kim Dong-Won, Kang Young-Seok, Seung-Jun Oh … Serienbeschreibung: Die besondere Zusammenarbeit zwischen dem ungeschickten Entführer Kim Myeong-joon (Yoon Kyesang) und dem 11-jährigen Genie-Mädchen Roh-hee……

[papaya2000s]

Photo collection of kisaeng's - Part 1

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

There names go from top left to bottom right.

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

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

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

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