#kim seong-su

[editfandom]

Yu Min-hyuk - Full House

[k-star-holic]

⁇ Seoul Spring ⁇ Existence ⁇ Name, changed cowardly? ⁇

[sunnymimis]

TONEGAWA x OGBAEM MAFIA 🐍 Kozo and Tae-yong belong to @burukaji! The others belong to me!

[stuff-diary]

Daily Dose of Sunshine

TV Shows/Dramas watched in 2023

Daily Dose of Sunshine (2023, South Korea)

Directors: Lee Jae Kyu & Kim Nam Su

Writers: Lee Nam Gyu, Oh Bo Hyun & Kim Da Hee (based on the webtoon by Lee Ra Ha)

Mini-review:

When I heard this drama was coming out, I got a bit worried, since k-dramas don't have the best track record when it comes to handling this topic. Thankfully, this show's team mostly pulled it off. Sure, it falls into stereotypes from time to time, but its focus is always on empathy, acceptance and tolerance. It really tries to make the viewer understand how hard and undeservedly misunderstood mental illnesses are. For better or worse, that also means the drama doesn't shy away from showing the darkest parts of these illnesses, so please be very careful if this topic is triggering for you, cause there are a lot of hard-to-watch scenes. In terms of acting, the entire cast is great, especially the actors playing the patients, and Park Bo Young. In fact, this might arguably be her career's crowning achievement. The one thing I didn't really like were the romantic parts. I just didn't care for any of the romances, and the show would've been better off without them. Anyway, Daily Dose of Sunshine surprised me by handling a complex topic in a much more humane and hopeful way that I expected.

[movienized-com]

Seoul Spring

Seoul Spring (2023) #Seong-suKim #ParkHaejoon #HwangJungmin #KimSeonggyoon #LeeSungmin #JungWoosung Mehr auf:

서울의 봄 / 12.12: The Day Jahr: 2023 (November) Genre: Drama / History Regie: Seong-su Kim Hauptrollen: Park Hae-joon, Hwang Jung-min, Kim Seong-gyoon, Lee Sung-min, Jung Woo-sung … Filmbeschreibung: Eine politische Drama basierend auf einer wahren Begebenheit nach dem Attentat auf Präsident Park. Ein versuchter Staatsstreich führt zu Konflikten zwischen militärischen Führern…

[2015mai24]

Musical "West Side Story"

Kim Jun-su, Park Kang-hyun, Go Eun-seong

[novelswithariana]

Episode 6

Ji A was really flirty in the yacht compared to the other dates she went in. Se Hoon was also unexpectantly funny in the yacht.

The wrestling was so brutal. I felt like my heart was stuck in my throat. I was cheering for Hyun Seung all the time. He is my new favorite. The way now every girl is paying attention to him! This is definitely going to ruffle the feathers of the other men. When Su Min and Se Hoon passed by, Min Ji's eyes kept shifting to them. She also immediately went to talk with them.

Wow! Yea Won has turned her full flirting capacity on. Imagine if after all this trouble, he still ends up choosing Ji A. So I was right, Hyun Seung still chose Ji A. Honestly, the way he was talking about Yea Won, for a moment I thought she would get chosen. Also what's with Se Hoon? I thought he finally moved on from Ji Yeon, seeing as he wasn't interacting with her so much. But he still chose her compared to the girls who were actually interested in him. He frustrates me!

[junkobato]

Upcoming Kdrama October 2024 💘

9/10: Family by Choice with Hwang In Yeop, Jung Chae Yeon, Bae Hyeon Seong. 16 episodes; rom-com, family.

10/10: Dongjae, the Good or the Bastard with Lee Joon Hyuk, Park Sung Woong. 10 episodes; thriller, mystery, law.

11/10: Doubt with Han Seok Kyu, Han Yeri. 10 episodes; thriller, psychological.

12/10: A Virtous Business with Kim So Yeon, Yeon Woo Jin, Kim Sung Ryung. 12 episodes; business, comedy.

12/10: Jeongnyeon: the Star is Born with Kim Taeri, Shin Ye Eun, Jung Eun Chae. 12 episodes; music, drama.

21/10: Love in the Big City with Nam Yoon Su, Lee Soo Kyung, Kwon Hyuk. 8 episodes; romance, youth.

25/10: Hellbound 2 with Kim Hyun Joo, Kim Sung Chul, Kim Shin Rok. 6 episodes; mystery, thriller, supernatural.

I want to watch everything!! 😭

[cosmosbeelover]

The History of Korean Female Soloists from the 20th Century: Episode 3/?

The third episode of 'The History of Korean Female Soloists from the 20th Century' highlights prominent Korean musicians who achieved fame in the early 20th century, during the period of Japanese occupation.

The historical documentation related to these artists is frequently unreliable, largely due to the fact that their contributions occurred almost a century ago, before the Korean War, leading to the loss or unavailability of essential records.

Yun Sim Deok (윤심덕; 尹心悳)

This episode is intended for a mature audience, so I want to issue a warning before proceeding, as it will discuss the topic of self-exit. This episode revisits the life of the renowned soprano Yun Sim-deok. In my initial discussion, the information presented was somewhat limited, as I had only recently begun my exploration of Korean artists. This revised episode will provide a more comprehensive and detailed account of her life and her romantic relationship.

"You poor soul, passionate about life, you are a dancer on the sword" - From Yun Sim-deok’s ‘In Praise of Death'

The inaugural official female vocalist and soprano on the Korean Peninsula, she is renowned for her signature piece, "Ode to Death." Her relationship with playwright Kim Woo-jin has garnered significant attention, particularly due to its tragic nature, as it reflects the cultural phenomenon in the Korea Strait where couples, disillusioned by their inability to fulfil their love, choose to end their lives together. This narrative, akin to Japan's concept of Shinju (心中), sparked widespread speculation and controversy during that period.

Life and Career

Yun Sim-deok (윤심덕; 尹心悳), also known by her nickname Su-seon (水仙), was born on July 25, 1897, in Pyongyang and passed away on August 4, 1926. She was the second of four children in a family of musicians, with her parents serving as pastors at the Namsanjae Church. Her family included her older sister Yun Sim-seong (윤심성), a soprano, her younger brother Yun Gi-seong (윤기성), a baritone, and her younger sister Yun Seong-deok (윤성덕), who specialized in piano, highlighting the musical environment in which she was raised.

In 1907, Yun Sim-deok commenced her education at Jinnampo Private Girls' School, subsequently attending Pyongyang Soongui Girls' School and Pyongyang Girls' High School. She completed her studies at the Gyeongseong Girls' High School (京城女高普) Teachers' Training Institute in 1918. After graduation, she served as a music teacher in Wonju, Gangwon Province, for about a year before being chosen, alongside Han Ki-ju (한기주; 韓���柱), for a government-funded program to study at the Tokyo Music School in Japan in 1919. With the assistance of Sekiya, the director of academic affairs, she enrolled in the vocal music department, supported by funds from the Japanese Government-General of Korea. While studying in Tokyo, she resided in Mokpo (木浦), and although initially classified as a special exchange student, her enrolment in the Class A Teacher’s Course (甲種師範科) indicates a shift in her aspirations towards becoming a music educator rather than solely focusing on vocal music.

Notably, Yun Sim-deok's younger sister, Yun Seong-deok (윤성덕)(1903-1968), mirrored her sister's trajectory by also entering the field of music education, eventually becoming a professor in the music department at Ewha Woman’s University. This familial connection underscores the significant impact of their upbringing on their professional paths, contributing to the broader landscape of music education in Korea during that era.

On December 19, 1920, she took part in a concert commemorating Beethoven's 150th anniversary. In 1921, while collaborating with traveling theatre groups like Dongwoohoe, which consisted of students from Tokyo, she performed solo pieces such as "Rose" and "Twilight Stream" prior to the play <Kim Yeong-il's Sa>. During this time, she developed a friendship with Kim Woo-jin (김우진) , the son of affluent Kim Seong-gyu, who was pursuing English Literature at Waseda University. This relationship reportedly evolved into a romantic one, and their subsequent mysterious disappearance sparked speculation, although their friends insisted it remained platonic.

After completing her education, she returned to Korea, having fallen in love with him. Following her music studies in 1922 and a year as an assistant teacher, she debuted as a soprano with a solo concert at the Jongno Central Youth Centre. Upon her return to Korea in June 1923, she held a vocal recital at the Janggokcheonjeong Public Hall on July 7. Although she achieved recognition through national tours and performances, she encountered financial hardships while working as a private instructor to support her family. While living as the concubine of a wealthy man named Lee, she received financial assistance that enabled her to send her younger sibling, Yun Seong-deok, to study in the United States. Eventually, she relocated to Harbin, where she embraced an independent lifestyle. Despite her acclaim for a powerful vocal ability, sustaining a career in Western classical music proved to be difficult, prompting her to shift towards pop music and acting. This transition ultimately led Yun Sim-deok (윤심덕) to become a prominent figure in Seoul's concert scene, leveraging the growing fascination with Western music.

After returning from her studies in Japan and settling in Mokpo to care for her two siblings, Kim Woo-jin (김우진) harboured ambitions of studying abroad again, motivated by the New Theatre Movement. However, he faced disappointment upon receiving a letter from her after her return from Harbin, marking their reunion during a time of heightened public interest in her shift from a musical troupe to the theatre group Towolhoe. Despite her parents' objections to her theatrical ambitions, she performed in the play Dongdo (東道) and maintained correspondence with Kim Woo-jin, who offered her financial support. Subsequently, she left Towolhoe to form a new theatre group, Baekjohoe (白鳥會), with her colleagues. When the theatre movement faced difficulties, she secretly met with Kim Woo-jin in Mokpo before traveling to Seoul, where they found comfort in each other's company until his departure for Tokyo. Later, she journeyed to Osaka (大阪) with Yun Seong-deok, who was heading to the United States for piano studies, to record for Ildong Gramophone Company, where she reunited with Kim Woo-jin once more. Among the songs she recorded for Ilchuk (日蓄) Records, accompanied by her younger brother on piano, was "死の讚美" (Death Praise Beauty).

She performed at the Yeonjeon Concert on July 20, 1923, and participated in the Gyeongseong Music Band’s Autumn Concert on October 13. Her appearances continued with the Myodong Praise Team's music competition on October 18, followed by Gyejeongsik's farewell concert on October 19, and the Yeonhui Professional Music Concert on May 11, 1924. Additionally, she took part in the Gyeongseong Medical College Music Department's concert on June 14 and the Joseon Women's Education Association's famine sympathy concert on October 18, showcasing her versatility and commitment to her craft.

During her tenure as a music instructor at Gyeongseong Normal School, she established herself as a prominent vocalist through her concert performances. In 1925, she made a significant career shift by joining the theatre company Towolhoe, where she gained further acclaim as a singer, making impactful television appearances and recording music. Her performance of "Hymn of Death" particularly struck a chord with audiences, enhancing her reputation in the entertainment industry.

After an extensive period with Towolhoe, she redirected her career towards the music sector, achieving notable success through her recordings and broadcasts. Her fame escalated with the release of "Ode to Death" by Ildong Gramophone Company, which received considerable attention with 100,000 copies containing the song were sold, especially after her premature death. Upon her return to Korea, she was celebrated as the queen of the Joseon Orchestra, although she later transitioned back to acting in 1926. Her contributions were recognized at the New Year's Music Concert by Our Boys' Association in February 1926, and her performances were highlighted in various publications, reflecting both her talent and the controversies surrounding her artistic choices.

Her journey into the world of singing commenced in Japan, where she was motivated by Lee Se-gi (이세기), the manager of the Gyeongseong branch of Osaka Ildong Records (Jevipyo), leading to the recording of eleven songs. Following the departure of her younger brother to the United States, she and Kim Woo-jin (김우진) were on their way back to Korea on August 4, 1926, aboard the ferry Tokuju Maru from Shimonoseki when they both leaped into the Genkai Sea. The Ilchukgwa Jebiyo Joseon Record features approximately 20 songs, including Western compositions such as “Net Dream” (Old Dream), “Ttanup River” (Danube River), “Maggie’s Memories,” “Smiling Laurel Flower,” and “The Boat Leaves,” all accompanied by Yun Seong-deok on piano. Unfortunately, her life took a tragic turn when she and her partner, Kim Woo-jin, ended their lives by jumping into the Genkai Sea, marking a sorrowful conclusion to her complex artistic journey.

Kim Woo-jin (김우진; 金祐鎭)

The name Kim Woo-jin may also be rendered as Kim U-jin in English translations; however, I will refer to him as Kim Woo-jin for the duration of this episode. I will not discuss his interaction with Yun Sim-deok in detail, as this topic has been covered in both the previous and subsequent sections.

Kim Woo-jin (김우진) was a significant figure in Korean literature, recognized as a playwright and theatre theorist during the Japanese colonial era, with notable works including "Shipwreck" and "Wild Boar/Pig." He was also a poet, essayist, and dramatist, distinguished as the first professional literary critic in Korea. His contributions to literature, particularly the poem "Theory of Life and Death" (1926) and the play "Wild Pig" (1926), have garnered attention.

Despite his literary accomplishments, Kim's work remained largely unacknowledged until the late 1970s, with a posthumous publication in 1983. His deep understanding of Western literature and insightful engagement with Western philosophy have since been recognized as pivotal to his legacy.

Life and Career

Cho-seong (焦星), also known as Susan (水山), was born on September 19, 1897, in Jangseong-gun. He was the son of Seong-gyu (星圭), the governor of Jangseong County, and his lineage included a grandfather who served as a ceremonial official and landowner. After completing his elementary education in Mokpo, he relocated to Japan, where he attended Kumamoto Agricultural School and later enrolled in the preparatory course at Waseda University (早稲田大学), ultimately graduating from the English Literature Department in 1924.

From an early age, he aspired to be a poet and began composing poetry during his time at Kumamoto Agricultural School. His passion for the performing arts led him to establish the Theatre Research Group, Geukye Art Association, alongside peers such as Jo Myeong-hee (조명희) and Hong Hae-seong (홍해성) in 1920. In 1921, he founded the Dongwoohoe Touring Theatre Troupe, managing performance costs and directing productions, including a translation of Dunsany's one-act play, “The Splendid Gate.” After returning to Mokpo post-graduation, he served as president of Sangseong Hapmyeong Company while producing a significant body of work, including 48 poems, five plays, and approximately 20 critiques. However, personal and societal challenges culminated in his tragic suicide on August 4, 1926, when he jumped into the Genkai Sea with soprano singer Yun Sim-deok (윤심덕).

Waseda University students in 1916

He was raised in a conservative Confucian household, yet he became deeply engaged with Western modern philosophy. Influenced by thinkers such as Nietzsche and Marx, he developed a distinct ideological framework that embraced socialism in the wake of the Russian Revolution. This intellectual journey led him to resonate with the expressionism of Strindberg and the reformist theatrical ideas of Shaw, ultimately fostering a rejection of traditional artistic conventions.

The ideological underpinnings of his works and the circumstances surrounding his suicide warrant examination. His poetry, particularly in pieces like "Death," "Theory of Life and Death," and "Theory of Death," reflects a profound denial of reality and a call for reform. Similarly, his plays reveal an autobiographical narrative intertwined with contemporary societal struggles. Notably, "The Disillusionment of Poet Du-deok" illustrates the clash between traditional and modern ethics, while "Lee Yeong-nyeo" employs naturalistic techniques to portray the harsh realities faced by the impoverished in Mokpo. His notable works, "Shipwreck" and "Wild Boar," stand as pioneering examples of expressionism in Korean literature, showcasing avant-garde experimentation during a time dominated by melodrama.

This work is notably distinguished by its profound exploration of social reform ideas and its ethereal stylistic approach. The author described this piece as his 'march of life,' imbuing it with the qualities of a clinical analysis conducted by a progressive thinker.

Bust of Kim Woo-jin at Mokpo Literature Hall.

Among his numerous insightful critiques are notable essays such as “On the So-Called Modern Theatre,” “The Story of the Free Theatre,” “The Life of Saong,” and “On Western and American Playwrights.” His critique “Seeing Artificial Humans at the Tsukiji Small Theatre” exemplifies his theatrical analysis. Furthermore, in “I Encourage Creation,” he methodically presented expressionism as the most fitting creative approach for Korean writers seeking to transcend traditional norms. His candid perspective on literature is evident in essays like “Bury the Literature of Lee Gwang-su” and “Ego-Viewed Class Literature and Critics,” where he rigorously challenged enlightenment nationalism and humanitarian ideals. In “A Word to the Korean Literature World Without the Korean Language,” he advocated for the revitalization of the pure Korean language, drawing on Western examples, and called for the establishment of a new literary framework, the creation of dictionaries, and the preservation of oral traditions, folk songs, and children’s songs. He also emphasized the need for a distinct poetic rhythm, the translation of foreign literature into Korean, and the increased accessibility of newspapers and magazines.

He was an innovative playwright who transcended the conventional literary landscape of his era, which was mired in enlightened nationalism, humanitarianism, and sentimentalism. By effectively channelling the struggles of his time into his plays, he distinguished himself as the sole playwright to directly engage with expressionism in his artistic endeavours.

Furthermore, he is recognized as a critic who contributed significant theoretical insights to the contemporary theatre and literary scene, drawing from his vast knowledge and ground-breaking critical viewpoint. Additionally, he played a crucial role as a theatre activist, being the first to spearhead the new theatre movement.

The complete works of Woojin Kim, published in 3 volumes in 2000.

A bust commemorating Kim Woo-jin is situated in the Kim Woo-jin Hall, part of the Mokpo Literature Hall established by Mokpo City.

Following their deaths, little information has emerged about Kim Woo-jin and Yun Sim-deok. Unlike Yun, who remained unmarried, Kim had a family, with his son Bang Han (방한) becoming a professor at Seoul National University. Kim Woo-jin's grave, reportedly unmarked by a body, is believed to be on Molmoe Mountain in Muan-gun, Jeollanam-do. Mokpo City later inaugurated the Mokpo Literature Hall and the Kim Woo-jin Hall to celebrate his literary contributions, alongside local figures such as Park Hwa-seong (박화성), Cha Beom-seok (차범석), and Kim Hyeon (김현). In 2000, a three-volume collection of his works was published. The legacy of Yun Sim-deok, Kim's beloved, is preserved through a faded photograph and her haunting rendition of "Praise of Death," (사의찬미) which evokes a sense of nostalgia and blurs the lines between traditional ballads and contemporary music.

Love Life

What is love? - Love is a connection between a man and a woman who share mutual feelings and enjoy each other's company.

A scene from the 1991 film [Ode to Death] starring the late actor Lim Sung-min (left) and Jang Mi-hee. 배우 고(故) 임성민(왼쪽)과 장미희 주연의 영화 [사의 찬미]의 한 장면, 1991년 작품이다.

Modern Art Pioneers Sacrificed to Convention

Artistic sympathy that emerged from trials, a relationship that goes beyond a simple affair, a catalyst for free love and popular art, leading Koreans to modernity.

The term gained popularity in Korea during the 1910s, particularly after its mention in Cho Joong-hwan's (조중환) adapted novel, "Ssangokru," (쌍옥루) which was serialized in "Maeil Shinbo" (매일신보) in 1912. Prior to this, romantic relationships were typically arranged by parents during the Joseon Dynasty. The story of Gapdol and Gap-soon, who secretly met at a watermill, illustrates how such love was often frowned upon, causing embarrassment to families and communities.

Ssangokru: Cho Jung-hwan's translated novel book cover

The emergence of modern love challenged these traditional norms, allowing individuals to take centre stage in their romantic narratives. The 1920s marked a significant shift towards free love in Joseon, fuelled by the exchange of heartfelt letters. Young lovers, caught in the throes of passion, eagerly penned love letters day and night, eagerly awaiting responses. The popularity of guides on writing love letters soared, with many considering love an essential part of life.

This surge in correspondence also played a crucial role in developing the postal system, which saw a dramatic increase in letter exchanges from just 137 in its early days to an astonishing 70 million by 1925. However, the era also witnessed tragic consequences, as the number of suicides linked to unrequited love rose sharply, capturing public attention and making headlines, especially when involving well-known figures like Yun Sim-deok and Kim Woo-jin.

Why did stars and rich people throw themselves into the sea?

The protagonists of an impossible love story, Woojin Kim and Sim-deok Yoon (right). The two ended their lives by throwing themselves into the Genkai Sea together.

At 4 a.m. on August 4, 1926, the Tokuju Maru, a ferry departing from Shimonoseki, Japan, was en route to Busan, navigating past Tsushima Island. A porter on duty noticed that the door to first-class cabin number 3 was ajar, raising his suspicions about a potential passenger wandering on deck at such an early hour. Upon entering the cabin to investigate, he discovered a letter resting atop a bag, addressed to "Po-i," which prompted him to open it.

The contents of the letter expressed an apology and a request for the will to be mailed to a registered address. Accompanying the note was a 5-won bill, seemingly a gift, alongside a suicide note indicating a desire to return home. Alarmed by the implications, the porter rushed to inform the captain, declaring an emergency. The ferry was halted, and a search ensued both inside and outside the vessel, yet no sign of the passenger from cabin number 3 could be found. It appeared she had likely taken her own life, though the exact time and location of the act remained unknown.

The cabin was left with a woman's wallet, a man's gold watch, 160 won in cash, and various personal items. To ascertain the identity of the missing passenger, the captain referred to the passenger list. The records indicated two individuals: Kim Su-san, a 30-year-old male from Bukgyo-dong, Mokpo, and Yoon Su-seon, a 30-year-old female residing at 73 Iljeong-mok, Seodaemun-jeong, Gyeongseong.

Upon the Tokuju Maru's arrival in Busan, the captain promptly notified the authorities regarding the incident. The identities of the two individuals involved were quickly uncovered. The male was identified as Kim Woo-jin (김우진;金祐鎭, 1897-1926), the eldest son of the affluent Kim Seong-gyu from Mokpo, recognized for his contributions as a playwright and theatre critic. He completed his studies in the English Department at Waseda University in Japan in 1924 and subsequently took on the role of president at Sangseong Partnership Company, which oversaw the family's assets. In line with societal norms of the era, he married at a young age and had a son and a daughter.

The female involved was none other than Yun Sim-deok (윤심덕; 尹心悳, 1897-1926), celebrated as the premier soprano of Joseon. Hailing from Pyongyang, she graduated from the education department of Gyeongseong Girls’ High School and was chosen as a government-sponsored student to study at the Tokyo Music School, returning in 1923. Her exceptional talent as a vocalist garnered significant attention, leading to television appearances and album recordings that solidified her status as a prominent singer. Her life and career were closely followed by the public, making her a notable figure of her time.

The incident in the Genkai Sea quickly captured global attention, as the media eagerly reported on the scandal involving prominent figures. The intersection of celebrity and wealth consistently draws public fascination, particularly given that the man was married. This event marked a historical moment as it was the first recorded instance of a Korean committing suicide on a ferry due to romantic despair. By August 5, major newspapers, including [Maeil Shinbo], extensively covered the story, sustaining public interest. The release of Yun Sim-deok’s album by the Nitto Gramophone Company of Japan on August 29 further amplified the media frenzy surrounding the affair.

The intrigue surrounding the affair between Yun Sim-deok and Kim Woo-jin captivated public interest. Media narratives suggested a romantic connection between the two, yet the complexities of their situation were underscored by Kim's status as a married man with familial responsibilities. Their tragic decision to end their lives together reflected a profound sense of despair, complicating the notion of their relationship, which, while classified as an affair, was deeply influenced by the societal norms of their time.

The term "new women" referred to those who had received modern education, both locally and abroad, and who often found themselves in social circles with married men like Kim Woo-jin. During this period, early marriage was prevalent, with many young men marrying before pursuing further education abroad. Reports indicated that a significant portion of male high school students were already wed, leaving their families behind to continue their studies. As these men matured, their perspectives often shifted, leading them to question the marriages arranged by their parents and seek relationships with new women.

The case of Chang-sun illustrates the societal pressures of the time. At just fifteen, he was compelled to marry under traditional customs, a decision he accepted without question due to his youth. However, as he progressed through his education, his understanding of love and relationships evolved, prompting him to reject the notion of his marriage, which he perceived as devoid of affection or mutual understanding. This transformation highlights the broader cultural shifts occurring in the 1920s, as individuals began to challenge established norms regarding marriage and personal agency.

A young married man with a wife and children meets a new woman, an 'educated woman'

Yun Sim-deok's posthumous album [Ode to Death].

Park Jun-pyo, a prominent novelist of the 1920s and 1930s, explores the psychological turmoil of a young married man enamoured with another woman in his 1924 novel, *Fate*. The protagonist, Chang-soon, departs from his hometown to pursue a degree in Literature at Gyeongseong University, where he cultivates modern ideals. He rejects the arranged marriage to Jeong-hee, as dictated by his parents, and instead aspires to a romantic relationship with Yeong-sook, an English literature student. Upon his return home after graduation, Chang-soon grapples with the desire to leave behind the constraints of traditional marriage for a progressive family life with Yeong-sook, yet the prospect of divorce looms as a source of profound distress.

The internal conflict Chang-soon faces is exacerbated by societal expectations and familial opposition. He anticipates fierce resistance from both his family and in-laws, particularly given that his wife has borne him a child. The thought of the ensuing chaos fills him with dread, as he foresees the scorn and judgment from a society steeped in ignorance. This emotional burden weighs heavily on him, leading to feelings of guilt and sorrow for both his wife, who remains unaware of his true sentiments, and the innocent child who is oblivious to the turmoil surrounding their family.

The original novels typically mirrored the prevailing values and preferences of society. In Park Jun-pyo's work, [Fate], the protagonist ultimately envisions a life of liberated love but grapples with the weight of divorce, ultimately returning to the family awaiting him. This conclusion resonates with the sentiments of the public. Conversely, those who sought to dissolve early marriages in favour of a new romantic partner faced significant societal backlash, as such choices were met with considerable disapproval.

The concerns of Kim Woo-jin and Yun Sim-deok may have stemmed from this societal context. The name 'Su-san' (水山) found on the passenger list of the Tokuju-maru was a pseudonym for Kim Woo-jin, while 'Su-seon' (水仙) was a term he affectionately used for Yun Sim-deok, indicating her closeness to him. Their relationship began in 1921 during their studies in Tokyo, where they became acquainted through a theatre company formed by the Japanese students' association, with Kim Woo-jin directing and Yun Sim-deok performing vocal solos.

The tour conducted by the Dongwoohoe throughout Joseon proved to be highly successful, spanning 14 regions over a period of 20 days. The troupe received enthusiastic receptions at each location, with their performances of plays and lectures garnering positive feedback. Notably, Yun Sim-deok's solo performance stood out, capturing significant attention. Anticipation for her return to Korea as a trained female vocalist increased, reflecting a growing global interest in her artistry.

Kim Woo-jin developed feelings for a female peer of his age, characterized by his composed and gentle demeanour. In contrast, Yoon Sim-deok's vivacious and generous nature earned her the affectionate nickname 'Wal-nyeo.' She frequently visited Kim Woo-jin's boarding house in Tokyo, engaging in discussions about music and literature while sharing profound personal narratives. This exchange fostered a deep bond of trust and affection between them, transcending the conventional boundaries of a mere romantic affair.

In the summer of 1922, Yun Sim-deok completed her studies at the Tokyo Music School and began to earnestly pursue a career as a vocalist. The journey of pioneers is often fraught with challenges, particularly in the realm of vocal music, which was not yet widely recognized in Joseon. The prospects of sustaining a livelihood as a soprano were bleak. To support her in this formidable endeavour, Kim Woo-jin (김우진) extended an invitation to Yun Sim-deok (윤심덕) while she was in her hometown of Pyongyang. He was vacationing in Mokpo and proposed that she come to perform at a family concert.

The invitation from Kim Woo-jin included train tickets for Yun Sim-deok and her two younger siblings. Her sister, Yun Seong-deok, was studying piano at Ewha Haktang, while her brother, Yun Gi-seong, was pursuing vocal music at Yonhui College. Although the prospect of performing might have felt overwhelming, the familial context of the concert alleviated some of her anxiety. Accepting the invitation, Yun Sim-deok travelled to the residence of Mokpo's wealthiest individual, where she showcased both Western and vocal music. During this visit, she also had the opportunity to meet Kim Woo-jin's family, including his parents, siblings, wife, and children.

A perverse interest in new and unfamiliar stars

Photo 1 - Yun Sim-deok (front row, right, wearing white) during her time at Ueno Music School in Tokyo. Photo 2 – What Ueno Music School looks like now.

Yun Sim-deok returned to her studies in vocal music for an additional year before making her way back to Korea in May 1923, marking the beginning of her journey as a soprano. At that time, the landscape of female vocalists in Joseon was sparse, particularly following the departure of Im Bae-se to the United States. The concept of a soprano was largely unfamiliar to the public, resulting in limited recognition and audiences for her performances. Initially, she took on a part-time lecturing role at Gyeongseong Girls’ High School, biding her time for the opportunity to perform on a concert stage.

An opportunity soon presented itself, leading to Yun Sim-deok's debut on June 26 at the third anniversary concert of the Dong-A Women's Association, thus launching her career as a soprano. While Im Bae-se was noted for her "voice like a cuckoo," Yun Sim-deok (윤심덕) captivated audiences with her unique sound, described as "the sound of beads rolling on a jade tray." Her popularity surged, and she became a frequent performer in the Gyeongseong area, gracing the stage three to four times a month. She received accolades such as "a first-class vocalist who intoxicates audiences" and was celebrated as "Joseon's best vocal group."

Despite the nature of the event being a concert, the compensation she received was minimal. Yun Sim-deok's financial circumstances were deteriorating, particularly after her parents relocated from Pyongyang to Gyeongseong in early 1924, merging their household with hers. This shift placed the burden of supporting her family, including her younger siblings, squarely on her shoulders. Her earnings from performances were insufficient for this responsibility, prompting her to seek additional income through private tutoring, yet the demands proved overwhelming.

Compounding her struggles was the negative scrutiny she faced from the public. Critics targeted her vibrant demeanour and physical appearance, expressing discomfort with her tall and slender figure. As a figure of novelty, Yun Sim-deok encountered resistance from a society that often recoils from the unfamiliar. With her rising fame came an increase in gossip and personal attacks, illustrating the paradox of public admiration intertwined with harsh judgment.

Yun Sim-deok's narrative of romantic freedom soon faced significant scrutiny. Her involvement with composer Hong Nan-pa, the rejection of musician Chae Dong-seon's affections, and the tragic demise of writer Park Jeong-sik due to unrequited love fuelled a torrent of gossip. In an era when even unfounded rumours were readily disseminated by the press, the escalating scandal tarnished the public perception of female vocalists, marking the onset of a societal witch hunt against them.

Amidst the turmoil, Kim Woo-jin emerged as a source of solace for Yun Sim-deok. A graduate of Waseda University’s English Literature Department in the summer of 1924, he returned to his hometown of Mokpo with aspirations to transcend traditional literature and establish Western modern drama in Joseon. However, his ambitions were met with resistance from his father, Kim Seong-gyu (김성규) , a prominent figure who had held various magistrate positions and amassed considerable wealth, expecting his son to inherit the family legacy.

Conforming to his parents' expectations, Kim Woo-jin assumed the presidency of Sangseong Partnership Company, which managed the family's assets. While others may have envied his position, he found it stifling. His wife, the daughter of a Confucian scholar, struggled to comprehend his desire to abandon the family business for a career in theatre, leaving him increasingly isolated. This emotional distance intensified his yearning for Yun Sim-deok, as their relationship flourished amidst the challenges they faced, rooted in a shared artistic vision and a mutual rejection of societal constraints.

Art and love served as a revitalizing force in their otherwise desolate lives, yet they remained powerless against the rigid traditions of Joseon, a society deeply entrenched in its customs, particularly regarding foreigners. The more they endeavoured to resist external influences, the more they found themselves ensnared by the harsh realities that plagued the early proponents of modern art, who faced relentless challenges from all directions.

In early 1925, it was rumoured that Yun Sim-deok had become the mistress of the affluent Lee Yong-mun (이용문) from Gyeongseong. Her visits to his residence, ostensibly for financial assistance to support her brother Yun Gi-seong's (윤기성) education in the United States, led to scandalous gossip. The rumours proliferated rapidly, with the elite mocking her, claiming she masqueraded as an artist while compromising her integrity for monetary gain. They suggested that wealth blurred the lines between a wife and a concubine, reducing her to a mere servant who performed for the entertainment of wealthy patrons.

Critics condemned Yun's recent behaviour, asserting that regardless of one's profession—be it artist, entrepreneur, or homemaker���one should uphold a respectable image. They urged her to embrace a virtuous life, especially with whispers of her potential departure abroad. The sentiment expressed in the publication 'On the Yun Sim-deok Incident' in March 1925 reflected a broader societal expectation that her artistic pursuits should not come at the cost of her dignity and reputation.

The rain shower is currently best avoided. Yun Sim-deok, wrongfully accused of witchcraft, embarked on a solitary journey to Harbin, where Pastor Bae Hyeong-sik, a figure she had admired since childhood, was engaged in missionary work and the independence movement. For six months, she severed all ties and lived in seclusion at Pastor Bae’s residence. It was only upon receiving a telegram informing her of her older sister Yun Sim-seong’s husband’s death that she decided to return to Gyeongseong.

Resuming her activities as a vocalist proved challenging. Yun Sim-deok participated in a radio broadcast being trailed by the Post Office of the Government-General, where she sang, recited poetry, and hosted segments, despite the fact that Korea's first Gyeongseong Broadcasting Station had yet to officially launch. Additionally, she received an invitation to record a gramophone record featuring popular songs. Setting aside her pride as a vocalist trained abroad with government support, Yun Sim-deok embraced the role of a popular singer, a position that had previously been regarded with disdain.

Hurt by the scandal, he tried to become a stage actor

The Genkai Sea as seen from Nagoya Castle, Japan.

During the early 20th century, gisaeng were prominent figures in the entertainment industry, engaging in television appearances and album recordings. The establishment of the Gyeongseong Broadcasting Station in February 1927 marked a significant development, as it initially employed around 100 gisaengs, thereby laying a crucial foundation for the broadcasting landscape. The Japan Gramophone Company released the first album featuring popular songs in 1925, with gisaengs like Kim San-wol (김���월) and Do Wol-saek (도월색) traveling to Japan to record notable tracks such as “This Windy World,” “Sided Bangcho,” and “Jang Han-mong-ga.” However, some gisaengs resisted the allure of fame, expressing their reluctance to participate in what they perceived as a demeaning spectacle.

The cultural landscape underwent a radical shift in 1926 when Yun Sim-deok joined the Towolhoe Theatre Company as an actress, following a suggestion from Kim Woo-jin. His critique, influenced by Strindberg, posited that expressionism aptly captured the dire social realities of Joseon, advocating for a new theatrical movement focused on smaller venues. By aligning herself with the Towolhoe Theatre Company, which championed modern theatre, Yun Sim-deok aimed to contribute to the evolution of Joseon’s artistic expression through innovative performances that resonated with contemporary societal issues.

Despite facing vehement opposition from her family, who viewed acting as a disreputable profession, Yun Sim-deok remained resolute in her aspirations. She left her home and took refuge in a Japanese inn located in Samjeong-mok, Hwanggeumjeong (Euljiro), where she dedicated herself to honing her acting skills. In a statement to the press, she described her journey as "a bold step to become something in a corner of the newly built Joseon Art Hall with all her might," reflecting her commitment to pursuing her artistic ambitions despite societal constraints.

The actress faced significant challenges throughout her career. The adaptation of the American film "East Road," titled "Dongdo," failed to resonate with audiences, primarily due to Yun Sim-deok's insufficient acting abilities. Although her vocal talent was evident in the opera "Carmen," the production struggled to gain popularity, as it overly depended on her performance. Additionally, the Towolhoe, which sought commercial success, encountered internal conflicts that ultimately led to its disbandment shortly after its release.

The disappointment of her ambitious endeavours, which included sacrificing her familial ties, plunged her into a state of despair. After achieving fame as a singer, she faced renewed criticism stemming from her unsuccessful theatrical pursuits. Yoon Sim-deok shared her anguish with Kim Woo-jin, who felt a profound sense of helplessness and guilt for her suffering, stemming from his conventional advice. This overwhelming burden of responsibility and self-reproach culminated in a tragic decision, as reflected in Kim Woo-jin’s poignant final poem.

Life running through the vast wilderness… 'Praise of Death' syndrome

The paradox of human sentiment is evident in the way individuals often express disdain for the living, only to venerate them posthumously, as if anticipating a resurrection. This phenomenon was notably illustrated in the Genkai-tan Jeongsa incident, where public criticism of Yun Sim-deok ultimately contributed to her demise, yet the same public later mourned her loss and celebrated her legacy through music.

On July 17, 1926, Yun Sim-deok departed from Gyeongseong en route to Osaka, where she intended to record an album with the Nitto Gramophone Company. Accompanied by her younger sister, Yun Seong-deok, who was preparing for studies in the United States, they swiftly progressed through the recording sessions. Upon completion, Yun Sim-deok reached out to Kim Woo-jin in Tokyo via telegram, inviting him to join her in Osaka, marking a moment where both individuals appeared to be reconciling their lives.

Kim Woo-jincompleted his play 'Wild Pig,' inspired by Donghak, after finishing 'The Disillusionment of Poet Du-deok' and 'The Shipwreck.' He had previously composed a will intended for his wife. Meanwhile, Yun Sim-deok crafted the lyrics for 'Hymn of Death,' set to Ivanovich's instrumental music. Despite the president of Nitto Records expressing concerns about the song's sentimental nature, additional recording took place at her persistent request. It is likely that Yun Sim-deok intended 'Hymn of Death' as a form of farewell.

The lyrics reflect a profound existential inquiry: "Life running through the vast wilderness / What are you looking for? / No matter this world or that, this whole life / I hate money, fame, and love." This introspective sentiment underscores the emotional weight of her work, suggesting a deeper commentary on the human condition and societal values.

On August 4, 1926, the Genkai Sea incident captured significant media attention, leading to the release of Yun Sim-deok's posthumous album on August 29. The timing was remarkable, as the album, titled [Ode to Death], resonated with the dramatic events surrounding it, resulting in sales of 100,000 copies—an unprecedented figure at the time. This phenomenon contributed to the establishment of a domestic record market, with phonographs selling rapidly despite their high cost, prompting the opening of stores by Viktor Records and Columbia in Seoul the following year.

The enduring legacy of Yun Sim-deok and Kim Woo-jin remains significant, even as time progresses. Years later, reports surfaced of a sighting of the pair in Rome, prompting Kim Woo-jin’s family to seek validation from the Governor-General regarding the credibility of these claims. In contrast, Yun Sim-deok’s family exhibited a somewhat different response, as articulated by her younger sister, Yun Seong-deok, who was abroad in the United States via Japan during the events in question.

Yun Seong-deok asserted that her family had never declared her sister deceased, attributing such notions to societal gossip. She expressed confusion over the preoccupation with the living or the dead, emphasizing that the judgments of Joseon society often oscillated between praise and criticism of others. This perspective highlights the societal tendency to speculate on the fates of individuals, particularly those in the public eye.

The accounts of sightings in Rome may reflect a romanticized narrative rather than reality, suggesting that Yun Sim-deok (윤심덕) and Kim Woo-jin (김우진) may have perished in the Genkai Sea. While their love was genuine, it was their shared artistic vision that ultimately led to their tragic end. The cultural context of 1926, marked by Yun Sim-deok’s poignant song "Ode to Death" and the screening of Na Un-gyu’s film "Arirang," illustrates the intersection of modernity and popular art in Korea, underscoring the emotional turmoil experienced by these two figures in the realm of modern art.

The next episode will explore the continuation of Yun Sim-deok's narrative, focusing on the events following her death and the impact of her music. Stay tuned for its upcoming release.

[papaya2000s]

Master List:

All the posts presented below are my original contributions, with the exception of those in which I reference the work of others. In such cases, I provide original links to the sources where I found the material, thereby acknowledging the respective creators and authors.

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) - (09/12/2024)

The Taxi Driver (택시운전사) - 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 (Background) - (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 (Background) - (08/12/2024)

Part 6.5 (Background) - (09/12/2024)

Part 7 - 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 (Rewrite - Coming Soon!) - (05/03/2024)

Kim So Hee - (05/10/2024)

Jeon Hae Nam - (13/10/2024)

Park Nok Ju - Coming Soon!

Lee Hwa Jung Seon - Coming Soon!

Male:

Kim In Sik - (21/09/2024)

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

Choi Nam Seon - Coming Soon!

Hyun Je Myeong - Coming Soon!

Lim Dong Hyeok - Coming Soon!

Kim Saeng Ryeo (Pt. 1, 2) - (11,16/11/2024)

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!

Baek Seol Hee - 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:

Stuff about H.O.T.

Discography Discussion:

These discography discussion posts are all made by @high-five-of-teenager-trashblog. All the albums are in released order from there debut to there final album.

We Hate All Kinds of Violence - (13/12/2020)

Wolf & Sheep - (23/11/2020)

Resurrection - (13/02/2019)

I Yah! - (29/08/2018)

Age of Peace - (26/11/2020)

Outside Castle - (24/09/2018)

'Solving the H.O.T. Syndrome'

These 3 posts are all made by @1004sface.

TV Guide 1997.01.23 - (Pt. 1) (Pt. 2) (Pt. 3)

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 - (09/12/2024)

Korean Albums:

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

Episode 1 Lee Ja-ram, Lee Gyu-dae - (13/11/2024)

Episode 2 Yesol - (15/11/2024)

Episode 3 Byun Jin-seop - (23/11/2024)

Episode 4 Heo Young-ran - (27/11/2024)

Episode 5 Kim Wan-sun - (27/11/2024)

Episode 6 One Work - (27/11/2024)

Episode 7 KOREANA - (30/11/2024)

Episode 8 Lee Ji-yeon - (01/12/2024)

Episode 9 Yang Soo-kyung - (02/12/2024)

Episode 10 People Looking for Songs (PLFS) - (04/12/2024)

Episode 11 (Pt.1) Seol Woon-do/ Jin Bo-ra/ Na Hoon-a, etc. - (07/12/2024)

Episode 11 (Pt.2) - In the Works!

Episode 12 EVE - In the Works!

Episode 13 Blue Sky - Coming Soon!

Episode 14 - ?

More Coming Soon!

[gloris-stuffs]

Póster oficial de Death’s Game liberado hoy 25-10-2023

En el póster publicado, puedes vislumbrar el escondite de la muerte al que llegó Choi Lee-jae después de su muerte. La identidad que se encuentra en medio del escondite no es otra que la Muerte (interpretada por Park So-dam), y a los pies de la Muerte, un ser inmortal, yace Choi Yi-jae, que está a punto de caer al infierno. Choi Yi-jae lucha por escapar de la esclavitud de la muerte que lo agobia.

Además, el Árbol de la Muerte ubicado detrás de la muerte nos recuerda las crueles imágenes de los humanos que fueron juzgados justo antes de caer al infierno. La grieta debajo del Árbol de la Muerte simboliza la puerta al infierno, estimulando la peligrosa imaginación de lo que hay más allá.

También llama la atención la frase ‘Después de la muerte, comienza el juicio cruel’, que sugiere un mundo regido por la muerte. Predice un juicio cruel que comenzará sólo después de que la vida termine, y la gente siente curiosidad por saber qué tipo de castigo recibirá Choi Yi-jae mientras se encuentra en el tribunal de la muerte.

El póster teaser de 'Lee Jae, I'll Die Soon', que contiene la lucha desesperada de Choi Lee Jae por escapar de las puertas del infierno, es una enorme cosmovisión que anticipa la vida y la muerte de Choi Lee Jae, que se repite 12 veces, incluida la El escondite de la muerte, el espacio donde reside la muerte, es el dibujo.

'Lee Jae, I'm Dying Soon' está generando expectativas con el encuentro de actores con diversas personalidades, incluidos Seo In-guk, Park So-dam, Kim Ji-hoon, Choi Si-won, Seong Hoon, Kim Kang-hoon. , Jang Seung-jo, Lee Jae-wook, Lee Do-hyun, Go Yoon-jung, Kim Jae-wook y Oh Jeong-se.

Mientras tanto, 'Lee Jae, I'm Dying Soon' se lanzará por primera vez a través de TVING en diciembre.

Reportero Kim Yeon-ju / Foto = TVING

[k-star-holic]

R.ef Perfect Field Reunion? ⁇ iron rain ⁇ Hwangap next year, more than singer ⁇ (Live)

[iuteamstarcandy]

[TRANS] Album/Song Introduction - IU 5th Full Album ‘LILAC’

Album Introduction

“Hello to a flower petal-like hello”

“I’m moving on to the next step without any doubt on my mind”

Having shown us a preview of her glamorous ‘greeting’ to the end of her 20s, IU is back with her 5th full-length album [LILAC] along with the scent of spring. Unlike the first album of her 20s, [Spring of a Twenty Year Old], which was full of her honest and fresh emotions, IU’s full-length album in 4 years [LILAC] captures her emotions which have matured over the years, through 10 tracks showing varied perspectives of her 20s thus far.

This time, IU participated again as a producer, composer and also wrote the full lyrics for the album and had new collaborations with various local and international top artistes, experimenting with new genres and releasing high quality songs, raising expectations for IU’s ongoing musical transformation as she enters her 30s.

Top music video production teams in Korea, VM Project (Celebrity, Flu), Flipevil (LILAC, Epilogue) and Sunny Visual (Coin) also participated for this album. The sensory videos each with unique styles, created a great synergy with IU’s music.

The lilac flower which is used as both the album title and title track, represents ‘first love’ and ‘memories of youth’. Here is a greeting from a glamorous yet slightly lonely IU, to show her gratitude to everyone who has read the first page of her 20s to the last page.

Song Introductions

01 라일락 (LILAC) [TITLE]

Lyrics By IU

Composed By Im Su Ho / Dr. JO / Woong Kim / N!ko

Arranged by Im Su Ho / Woong Kim / N!ko

The story of a couple bidding each other a happy farewell amidst the exclamation that spring is coming, after passionately being in love for 10 years.

The opening song for the full-length album with the same title as the album is ‘LILAC’, which presents us with the thrill of spring with a gorgeous and rhythmic sound.//

A 70-80s disco sound that harmonises the rhythmical bass line with funky and pop elements brings joy to the listeners. Im Su Ho, Dr. JO, Woong Kim, Niko participated in the song composition.

02 Flu

Lyrics By IU

Composed By Ryan S. Jhun / Martin Coogan / Madilyn Bailey / Zacchariah Palmer / London Jackson / Jacob Chatelain

Arranged By Jacob Chatelain / London Jackson / Ryan S. Jhun

When writing lyrics about the subject matter of ‘love’, the feeling that comes to the forefront for me is ‘agony’. When I finally come to the realisation that this feeling called love has been bothering me to the extent of discomfort, I feel like everything in my body has become topsy turvy. The feeling is not exactly refreshing.

This song tells the story of a final rebellion in a desperate fight from being attacked by the love virus, after a fierce denial ended in vain and left me powerless.//

Written by the hit song composer Ryan S. Jhun and his composing team, which has worked together on a variety of music projects, ‘Flu’ has an urban beat, a catchy hook and a fantasy-like melody, adding to the song’s vividness. The unique detailed lyrics filled with IU’s wit and her risqué voice maximise the song’s appeal.

03 Coin [TITLE]

Lyrics By IU

Composed By Poptime / kako / IU

Arranged by Poptime

Stimulating things have an irreplaceable appeal to them, but eventually are detrimental to our health.

Let me play just one more round of this game that is detrimental to my health. //

A new genre that IU has never tried was created by combining a sample sound reminiscent of a game room at the start, with Poptime’s funky groove band soundtrack and IU’s melody. With IU’s glamorous rapping revealed for the first time through the song release and an unconventional drop part, this song with a concept that (IU) is trying for the first time since her debut, became a hot topic since the release of the teaser video.

04 봄 안녕 봄 (Hi spring Bye)

Lyrics By IU

Composed By Naul

Arranged by Kang Hwa Seong

Although there are still times that your name unconsciously comes to my mind first,

and occasionally there are sleepless nights like these,

I won’t think of this as my lingering affection (towards you) anymore.

Just a name I recall on a tiring day

or a coincidence I want to face again

The feeling of getting off at a small stopover early in the morning, just in case

The feeling of stretching out one’s hand to the wind gently blowing past, just in case

The feeling of calling out your name when looking into the vacant gaze of a cat, in case it’s you

So you’ve turned into a butterfly

Still as beautiful as ever

So you’ve turned into a bird

Free at last

You have come again today without fail

Thank you

It’s a relief to be able to wait again tomorrow

Let’s meet again on a good day. //

The song that top Korean singer-songwriter Naul gifted IU is simple and yet the understated melody with the EP and nylon guitar tune, carefully brings out the emotions of the song. The melodious monologue-like chorus and Naul’s calm voice deepen the song a layer further. The gentle bridge that leaves an impression is straightforward, yet adds a refined touch to the song. The poetic string tunes like the arrival of spring, together with the warm electric guitar sounds, completes the classic yet emotional contemporary pop sound.

05 Celebrity

Lyrics By IU

Composed By Ryan S. Jhun / Jeppe London Bilsby / Lauritz Emil Christiansen / IU / Chloe Latimer / Celine Svanback

Arranged By Jeppe London Bilsby / Lauritz Emil Christiansen / Ryan S. Jhun

I have a friend with eye-catching outfits, slightly unique taste, various talents, a defence mechanism that started out as shyness, a personality that differentiates the likes and dislikes for everything and because of all this, was often treated as someone who is eccentric.

I love my friend even more for all these characteristics, but for the same reasons, the friend received even more looks of hatred all this while.

These lyrics started out as things I wanted to say to my ‘eccentric friend’, but as I worked on this song, I realised that this is also my story. After completing the lyrics, I think it wouldn’t be unnatural at all for anyone to become the main character, besides my friend or me. Because in life, we would definitely have experienced a sense of alienation for not having met expectations set by others. Including my friend, I want to tell those who were born unpolished yet unique. You’re not ‘byeolnan’ (eccentric) but someone who is like a ‘byeol’ (star).

‘Celebrity’ is the preview to IU’s 5th full-length album after 4 years. The pre-release track that introduces the album, ‘Celebrity’, is an electronic pop song mixed with tropical house, covering a spectrum of genres, with the involvement of Ryan S. JHyun who has produced many hit songs, Danish composer Chloe Latimer, as well as IU herself in the song production, bringing the song to a higher level of completion.

In particular, the album art has the word ‘Celebrity’ scrawled by IU using her left hand, which makes it even more special. The lighthearted and classy ‘Celebrity’ track has a hook in the style of a drop produced with synthesiser and autotune that has not been used in IU’s songs before and combined with IU’s voice, makes it more refreshing.

06 돌림노래 (Troll Feat. Dean)

Lyrics By IU / DEAN

Composed By Park Woo Sang / JUNNY / DEAN

Arranged By Park Woo Sang

Even though it’s pathetic,

If it’s still love after all this, then it’s love. //

The much-anticipated collaboration between IU and DEAN has come true. Park Woo Sang, JUNNY, DEAN, jane participated in composing the song. With a reggae and bossa nova-based genre, IU and DEAN exchange honest words with each other about a relationship like a ‘circular song’ (Korean title of this song, although the English title is ‘Troll’).

07 빈컵 (Empty Cup)

Lyrics By IU

Composed By WOOGIE / PENOMECO

Arranged by WOOGIE

Instead of the cup of coffee that is filled to the brink with the scent of the panicked faced man who was unable to grab on to the woman who got up from her seat first, only the cold remains of the coffee stain remains scarred on the floor. //

Producer WOOGIE, hip-hop musician PENOMECO, and IU. In ‘Empty Cup’, which became a hot issue since the release of the tracklist showing a fresh collaboration between artistes who cover a wide music spectrum, a toned-down IU with a lonely voice, low-fi guitar sound and R&B based band sound, maximise the chic emotions of the song.

08 아이와 나의 바다 (My sea)

Lyrics By IU

Composed By Jehwi / Kim Hee Won

Arranged by Jehwi

I am unable to love myself perfectly

After nights where my heart was down bad,

Only now have I found my ocean. //

The ‘Through the Night’ duo, composers Jehwi and Kim Heewon worked together again on a ballad track. Despite a calm beginning, the grand sound that makes its appearance matches IU’s vocals full of energy, grabbing the attention of listeners for 5 mins and 16 seconds. Also, the rich performance by the string ensemble with 20 members add to the beauty of the song and IU’s powerful high note in the second half with the choir formed by Jehwi’s friends bring the song to a dramatic climax.

09 어푸 (Ah puh)

Lyrics By IU / Lee Chan Hyuk

Composed By Lee Chan Hyuk / PEEJAY

Arranged by PEEJAY

Lets hang out near the ocean until we’re sick of each other.

A refreshing sound with an attack feel, like surfing the waves, the clicking rhythm almost like a camera shutter and a dynamic melody, which bring out the fun lyrics written together by IU and Lee Chan Hyuk. Also, the comment from Lee Chan Hyuk that ‘this would fit (the description of) a modern interpretation of IU’s refreshing songs in the early part of her career’ adds to the various highlights of this song.

10 에필로그 (Epilogue)

Lyrics By IU

Composed By Shim Eun Ji / SUMIN / Kim Soo Yeong / Im Geum Bi

Arranged by Shim Eun Ji / Kim Soo Yeong

Thank you from the bottom of my heart to all the listeners who willingly shared in conversation with me without an annoyance throughout my talkative twenties.

Not the twenty-three-year-old IU, the twenty-five-year-old IU, nor even the IU last year (28), but the me of right now will now be moving on to the next chapter.

Goodbye ♥

-from Jieun //

Shim Eun Ji, the composer of the last track of IU’s first album of her twenties ‘Spring of a Twenty Year Old’, together with singer-songwriter Kim Soo Yeong, SUMIN and Im Geum Bi, wrote the last track of this album again which brings IU’s twenties to a close. Like a relieved greeting from IU, this is a ballad song that evokes a mysterious atmosphere with a low-fi sound from an old record player and retro feels.

Source: Melon

Translated by IUteamstarcandy

[seouldramaspot]

The 8 Show: A Dark Comedy Thriller Exploring Survival and Morality in Isolation

The 8 Show (Korean: 더 에이트 쇼) is a 2024 South Korean dark comedy thriller television series, written and directed by Han Jae-rim. The series, which stars Ryu Jun-yeol, Chun Woo-hee, Park Jeong-min, Lee Yul-eum, Park Hae-joon, Lee Zoo-young, Moon Jeong-hee, and Bae Seong-woo, is based on the Naver webtoons "Money Game" and "Pie Game" by Bae Jin-soo. It revolves around eight participants who must navigate cooperation and conflict in an isolated setting where the game concludes with a death. The show premiered on Netflix on May 17, 2024.

Eight strangers enter a game where they are confined in a building, earning money for every minute the game continues. Each night, they are isolated in separate rooms on different floors and must purchase provisions at exorbitant prices using their earnings. During the day, they collectively buy provisions, facing the challenge of higher floors earning more and having better living conditions. This disparity leads to power struggles and efforts to discover how to extend the game time.

Cast

Ryu Jun-yeol as Third Floor / Bae Jin-su

Chun Woo-hee as Eighth Floor / Se-ra

Park Jeong-min as Seventh Floor / Yoo Phillip

Lee Yul-eum as Fourth Floor / Kim Yang

Park Hae-joon as Sixth Floor

Lee Zoo-young as Second Floor

Moon Jeong-hee as Fifth Floor

Bae Seong-woo as First Floor

Episodes

The series consists of 8 episodes, all released on May 17, 2024.

Episode 1: Jin-su joins the game and learns the rules, discovering the disparity in earnings among floors.

Episode 2: The group learns how to earn more time and faces a crisis when time nearly runs out.

Episode 3: A talent show is devised to entertain viewers and extend the game time.

Episode 4: A brutal game of the King Game reveals manipulations and power plays.

Episode 5: The game becomes more violent, leading to a revolt by the lower floors.

Episode 6: The subdued top floors are tortured, and the game time is manipulated.

Episode 7: Torture and betrayal ensue, leading to Floor 1's death in a desperate act.

Episode 8: The aftermath of the game reveals the fates of the participants.

Epilogue: Floor 3 copes with trauma, organizing a memorial for Floor 1, while the other survivors move on with their lives.

Production

Development: Initially titled "Money Game," the series is based on the webtoons by Bae Jin-soo. Han Jae-rim directs, with production by Studio N and Magnum Nine, and investment by Lotte Cultureworks.

Budget: The series was produced with a budget of over ₩24 billion (US$20.98 million).

Casting: Ryu Jun-yeol and Bae Seong-woo were the first to be cast, with other actors joining later. Chun Woo-hee replaced Lee Ji-eun.

Filming: Principal photography took place from May to December 2022.

Honest Comment:

I'm curious about this series because of the title " The 8 Show" like what is the meaning of it? at first episode it is like the kdrama series The squid game but it is a show for all the anonymous people can watch. There are numbers to choose once you enter the building at first I didn't catch about the numbers but when I watch the series I kinda like the series because it is full of surprise. Some says that it is similar to the Squid game but I assure you it is different it is about how many you can earn money while the clock is ticking. Every episode has a different story and style we can see the emotions and attitude of all the cast in the series. For me the show is great love the storyline it is just like there is still missing in the show.

[kiss4chuu]

⋅˚₊‧ ୨ request rules ୧ ‧₊˚

⋅˚₊‧ ୨ general rules ୧ ‧₊˚

↳ we only write romantic, platonic, age regression, fluff, angst, and semi-nsfw. no full nsfw content.

↳ we write in oneshot, headcanon, social media, and multi-character form. for multi-characters, the limit is 4-6.

↳ lgbtq+ relationships are fully allowed and encouraged, this includes polyamory.

↳ cross-fandom and au’s are allowed.

↳ we won’t write ships, unless it’s in a polyamorous pairing.

↳ mental abuse, physical abuse, and abuse in general within a pairing is not allowed. topics of it, however, are allowed.

⋅˚₊‧ ୨ fandoms ୧ ‧₊˚

— new jersey devils

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— detriot red wings

— new york islanders

— dallas stars

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— umich (not nhl, but i also don’t care)

— twice

↳ nayeon

↳ jeongyeon

↳ momo

↳ mina

↳ dahyun

↳ chaeyoung

↳ tzuyu

↳ sana

↳ jihyo

— blackpink

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↳ jennie

↳ jisoo

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↳ soyeon

↳ miyeon

↳ soojin

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↳ shuhua

↳ minnie

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↳ yeji

↳ ryujin

↳ lia

↳ yuna

↳ chaeryeong

— le sserafim

↳ yunjin / jennifer

↳ chaewon

↳ sakura

↳ kazuha

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— ive

↳ wonyoung

↳ yujin

↳ gaeul

↳ liz

↳ leeseo

↳ rei

— loona

↳ heejin

↳ hyunjin

↳ haseul

↳ yeojin

↳ vivi

↳ kim lip

↳ choerry

↳ jinsoul

↳ yves

↳ chuu

↳ gowon

↳ olivia hye

— new jeans

↳ danielle

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↳ minji

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↳ karina

↳ winter

↳ giselle

↳ ning ning

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↳ namjoon

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↳ hoseok

↳ jin

↳ jungkook

↳ jimin

↳ taehyung

— enhypen

↳ ni-ki

↳ jungwon

↳ sunoo

↳ sunghoon

↳ heeseung

↳ jay

↳ jake

— stray kids

↳ bang chan

↳ hyunjin

↳ felix

↳ lee know

↳ i.n

↳ han

↳ changbin

↳ seungmin

— txt

↳ soobin

↳ kai

↳ yeonjun

↳ beomgyu

↳ taehyun

— crash landing on you

↳ ri jeong-hyeok

↳ yoon se-ri

↳ gu seung-joon

↳ seo dan

↳ park kwang-beom

↳ kim jumeok

— all of us are dead

↳ lee su-hyeok

↳ choi nam-ra

↳ lee cheong-san

↳ nam on-jo

↳ yoon gwi-nam

↳ lee na-yeon

↳ jang ha-ri

↳ park mi-jin

↳ jang woo-jin

↳ min eun-ji

↳ kim chul-soo

— sweet home

↳ cha hyun-soo

↳ lee eun-hyuk

↳ lee eun-yoo

↳ seo yi-kyeong

↳ jung jae-heon

↳ pyeon sang-wook

↳ yoon ji-soo

— squid game

↳ kang sae-byeok

↳ seong gi-hu

↳ salesman

↳ hwang jun-ho

↳ ji-yeong

↳ cho sang-wo

↳ front man

↳ abdul ali

↳ circle, triangle, and square guards

© kiss4chuu | no reposts

[skboba-stars]

Lookism OC - Bio | Stats

"you should really know by now, i'll be the one you all fear in the end."

Names :

Korean : Baek Ghauravi 'Ravi'

English : Rai Baek

Height :

First year : 178 cm

Current height : 189 cm

Age : 16 years old

Gender : Female

Nationality : Korean

Ethnicity : Biracial [Indian-Korean]

Sexuality : Bisexual

Birthday : October 13th

Relationships :

Relatives :

Father : Baek Gogyeong (deceased)

Mother : Taushini Jin (deceased)

Uncle : Baek Yi-su (alive)

Brother : Jin Hwaraon 'Hwa' (twin, alive)

Sister : Kang Mingyu 'Gyu' (older - adopted, alive)

Friends :

Ji Yeonwoo

Seong Taehoon

Jay Hong

Vasco | Euntae Park

Mary Kim

Duk-Hwa Pyeong

Status :

School : Jaewon High School & Sungkyunkwan University (dual enrollment)

Occupation :

High School Student (2nd Year) [Computer Science Department] College Student (1st Year)

MMA Athlete & Competitive Swimmer

Newtuber

Direct Heir to Taesan

Affiliations :

J High

Taesan

Allied Crew

Martial Arts :

Krav Maga

Kalaripayattu

Taekkyon

Personality :

Ravi is someone who has a very sarcastic and loud personality. She comes across to many people as highly reserved, yet humorous and perhaps even crude at times. Even so, she has a reputation for being highly mysterious with not much known about her despite her outwardly open nature.

She is also highly known for her intelligence and work ethic due to her high grades in the Computer Science department despite not having much knowledge about the subject initially. This is also supported by her dual enrollment at Sungkyunkawan and her bility to balance her sports, family company work, and school.

She can be very lighthearted, but when she focuses on something - the becomes tunnel-minded and can even disrupt the best of plans.

She also earnt the title of the Queen Taipan due to her snake tattoos, her fighting style, and the ease that she could fight against Vasco.

Appearance :

Ravi is a well-muscled young woman of above average height. She currently stands at 189 cm with wavy. mid-back length black hair and black-red eyes emphasized by kajjal. She has tanned skin and a bridge of freckles across her nose and shoulders.

She has dual water color tattoos in black, lilac, and white of two snakes across her biceps and often has elaborate mendi patterns on her arms. Ravi has dual dimples and monolids. Her body type is an inverted triangle and slightly hourglass shaped and highly muscled and toned due to extensive training and strength conditioning.

As for style, Ravi prefers to wear tight turtlenecks and cargo jeans paired with her usual hoodies and leather jackets. She loves shoes with thick soles - usually Converse sneakers or combat boots. Usually, her overall outfits outside of school are either war core or grandpa core style.

She has a golden nose piercing and golden ear studs with a black industrial piecing in her left ear and a chain helix piercing on her right ear.

With her standard school uniform, she wears pants rather than the skirt, a skintight turtleneck, Converse thick soled sneakers, and her hoodie-leather jacket.

Background :

She was born to the head of Taesan and one of the shareholders of HnH. Her mother was a former wrestling champion who'd decided to try her way into business. When expanding her international branches and making a contract with HnH, she met Baek Dogyeong.

The two of them initially didn't get along, but they developed a camaraderie and strong friendship together, eventually opting to get married to merge their businesses

Shortly after her and her brother were born, her father and mother separated as they were much closer as friends. Her mother took custody of her twin brother and her father took custody of her

Before she was about to leave to return to India with Hwaraon, Taushini Jin was murdered by Park Jong-Gun as revenge against her sister died in an accident, leaving her father to raise the three of them on his own (he adopted Gyu before the twins were born).

Growing up, she had always been fond of martial arts and as the Heir to her father's company, such knowledge was expected. As a result, Ghauravi and Hwaraon grew up in a healthy environment despite being bullied through the majority of their early schooling and both pursued martial arts - Ravi being more so than Hwa.

However, in middle school, Hwa used to get bullied and Ravi would defend him, leading to her becoming a target. The girl who instigated the bullying was a daughter of an army official and at the time, her father was struggling, so she would continue to get severely bullied to the point that she would be scarred heavily.

Ultimately, after this, Ghauravi threw herself into training and she took up swimming and computer programming. She eventually emerged onto the MMA scene, where she befriended Seong Taehoon and eventually Ji Yeonwoo through her dual enrollment. When she entered J High, she was reunited with Jay - who she was childhood friends with - and he was the one who asked her to join &lt;;Allied>.

Trivia :

Ghauravi likes to go by Ravi since her sister gave her that nickname and the two of them nicknamed their brother Hwa.

Ghauravi's MBTI-personality is ESTJ .

Despite being wealthy, Ghauravi used to live in a two-story home in a more suburban area near Seoul. After her father's death, she rotates between living with her sister and brother in a multi-bedroom apartment and living with her Uncle in their Taesan safehouse.

Her title in the Allied crew is [Serpent].

She has a pet lavender corn snake, a pet hognose snake, and two fat tailed geckos as pets.

She had a herpetology phase in middle school.

She understands English, Hindi, and Korean but is terrible with languages and the arts.

Alongside running Taesan, Ghauravi plans on being a professional athlete in both MMA and competitive swimming.

She has a motorcycle that she uses to pick up Taehoon and Yeonwoo whenever they decide to join Hobin in his chaos.

She has a Tic-Tak-Tok account that she just blatantly and openly talks about all the drama in the crews and exposes everyone. [A majority of the heads of the Four Crews follow her and think she's joking.]