#myeong hee

[mintmp4]

youth of may| main couple ending scene.

This kdrama made a big impression on me and took a spot in my heart. Main characters have an incredible ✨chemistry✨ Viewing is recommended! I hope you enjoy my video!

[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/

[movienized-com]

Badland Hunters

Badland Hunters (2024) #HeoMyeongHaeng #MaDongseok #LeeHeejoon #LeeJunyoung #RohJeongeui Mehr auf:

황야 / Hwang-ya Jahr: 2024 (Januar) Genre: Action / Abenteuer / Drama Regie: Heo Myeong Haeng Hauptrollen: Ma Dong-seok, Lee Hee-joon, Lee Jun-young, Roh Jeong-eui … Filmbeschreibung: Südkorea, in einer näheren Zukunft: Seit einem gewaltigen Erdbeben liegen die Hauptstadt Seoul und deren Umgebung in Schutt und Asche. Die meisten Häuser sind nur noch Ruinen und viele Menschen fanden bei der…

[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.…

[kdrama-movies-more]

That finale's Nam-soon makes me think she's actually a long lost child of Moon and Bong...

[kdramamilfs]

Mission: Cross (2024) dir. Lee Myeong-hun Jeon Hye-jin as Jang Hee-joo

[myechoecho]

They are really going to end pt 1 of the Glory like that? It’s going to a long wait until March.

I do like that they haven’t forgotten or brushed aside the trauma that Dong Eun lives with. Dong Eun has triggers. Llike the panic attack in the car shop or when she barely holds on after Jae Jun taunted her about what they did to her and the unconscious way she sometimes scratches her scars. Too often shows just sort of forget about showing the aftermath beyond a couple of episodes, even if it is a revenge drama like this. So I like that they show how much Dong Eun still suffers.

I also like how Yeon Jin remains the focus of Dong Eun’s plans. She wants the others to suffer but ultimately it’s really only Yeon Jin that she needs destroyed. Yeon Jin is the key, because without her the others would not have fallen in line. Also props to Shin Ye Eun as young Yeon Jin because she is pretty terrifying.

Dong Eun’s revenge is pretty meticulous, as she’s slowly pitting the group against one another though I don’t think they understand that yet.

Do Young doesn’t seem to be a terrible person, at least not like Yeon Jin and the others. I don’t think he realized how awful she is but I’m not sure he’s on Dong Eun’s side exactly. 

Right now we have:

So Hee’s body missing

Dong Eun and Hyeon Nam preparing to kill her husband

Yeon Jin finding Dong Eun’s apartment (though i suspect that Dong Eun knew this would happen and is not overly concerned)

Do Young leaning that Ye Sol is not his bio daughter, Yeon Jin has cheated on him their entire marriage, that Yeon Jin bullied in the past and that Dong Eun is coming for her

Jae Jun learning that Ye Sol is his bio daughter, that Yeon Jin kept it from him AND that she’s never loved him (even though she doesn’t actually say that)

Myeong O still missing (I don’t think he’s dead but I do think that Yeon Jin is holding him captive somewhere)

Plus Sa Ra and Hye Jeong whom Dong Eun has only barely played with.

Part 2 will be a ride and I am looking forward to it.

[anemoiawithatouchofobsession]

My old Sageuk script, revised! ----- Madam Jung : Where is Yoo-hwa? She should have been here by afternoon. 유화가 어디냐? 오후까지 왔어야 했는데. Myeong Ae: She's in the palace today I think the Prince has taken a liking to her. 유화가 궁에 있아옵니다. 세자저하께서 언니한테 관심이 생겼다는 소문을 들었아옵니다. Madam Jung : I see. I hope she doesn't get swayed by the Prince to stay at the court. 그리하구나. 세자저하께 교태전에 남아있으라는 말 안듣게... Mi Hee : Why? If the Prince likes her, she might receive a lot of money. And maybe she will become his concubine! 왜 그렇습니까? 세자저하께서 언니를 좋아하신다면, 돈을 받고, 어쩌면 저하의 첩이 될지도 모릅니다! Madam Jung : Not every gisaeng's path leads to the court. Yoo-hwa is too naive to get into politics, and is too skilled to be an entertainment to the Royal family. 모든 기생들의 길이 궁까지 가야 할 필요 없다. 우리 유화가 너무 흔들리기 쉬워서 궁정과 정치에 멀리서 있어야 해. 또한, 왕실의 오락거리일뿐이 되기에는 얘가 너무 숙련되어있는데. Jin Yi : I've heard that the Consort Hee of the Jang family is a very greedy woman. Yoo-hwa would suffer a lot if she gets in that woman's way. As someone who has seen her since she was young, I am worried. 장씨 희빈마마께 욕망이 많은 여자라고 들었어요. 유화는 그 분에게 방해가 된다면 큰 고통을 겪게 될 건데. 얘를 오랫동안 보는 분이라서 걱정이 되옵니다. Jang Sook : Consorts are always greedy. I don't understand why. The court is splitting like a watermelon, the nation is being attacked on the shores, and these women give birth to four of five babies for what? For the land they receive? For their son to be the next king? So they can be the Queen Dowager and order their own son and the court around? 빈궁들은 항상 욕심이 많군요. 왜 그런지 이해하지 않아. 우리 궁정은 수박처럼 갈라지고 있고, 우리 나라는 해안에 심한 공격당하고 있는데도, 이 여자들은 무엇 때문에 계속 4명이나 5명의 아기를 낳습니까? 받는 땅을 위해서요? 아들이 생기면 그 불쌍한 아이가 다음 왕이 되기 위해서요? 대비가 되어 아들과 궁정을 명령할 수 있기 위해서요? Madam Jung : (raises hand) We are no one to judge someone else's situation and decisions in life. All we can do is live with it and give the children an example of how to,nor how not to, lead life. 우리는 다른 사람의 상황과 결정을 판단하는 사람이 아니다. 우리가 할 수 있는 것은 우리대로 먹고살고 우리 아이들에게 삶을 사는 방법에 대한 예를 드는 것일뿐이다.

Madam Jung : Cheon-geum-ah? 천금아? Cheon-geum  : Yes, mother 네, 어머님 Madam Jung : You are the closest to the age of 16 among the training gisaengs. Am I right? 여기 아이들 중에 16세 넘은 아이 너냐? Cheon-geum  : True, mother. 맞사옵니다 Madam Jung : Then, have you decided on a gisaeng name yet? 그럼, 기생이름을 선택했느냐? Cheon-geum  : No, mother. 아니옵니다 어머님 Madam Jung : Why so, when I have reminded you mamy times? 몇 번 말을 했던게요, 그럼 왜? Cheon-geum : (stutters slightly, in a quieter voice) I- I intend not to take on a gisaeng name, mother. 저- 저는 기생 이름을 생기는 생각이 없아옵니다, 어머님 Wol-hyang : (looks at Eui-hye with a look of worry) Madam Jung : May I know the reason? 이유를 좀 전할할 수 있을까? Cheon-geum  : (voice becoming more firm) My mother gave me a name that I think is fitting to me. I want to be a heavenly lyre player even when I'm a gisaeng. Please understand this young girl's wish, mother. 이 소녀의 애미는 저에게는 잘 어울리는 이름을 지으셨다고 생각을 하느니, 기생이 되도 지금 이름대로 천상의 거문게꾼으로 유명하고 싶은 이 소녀의 순한 마음을 이해주십시오 Soon-ryeon : (leans over to Wol-hyang and whispers) when is her birthday? In how many months? 얘 생일 언젠데? 몇월? Wol-hyang : ( noticing that Madam Jung jas noticed Soonryeon whispering, signals with her hand, 2 fingers. SR gives a look of "well, whatever" and continues eating.) Madam Jung : (slightly angry) So you think these reasons give you the freedom that your friends don't have? What makes you think you have a choice? 그럼 네 친구들이 없는 자유가 네가 갖고 있는 줄 알았느냐? 선택이 있는 생각을 어떻게 들 수 있느냐? Cheon-geum : (quiet but firm) None of the other girls were born to a gisaeng and raised to be one. I have never known anything else but being a gisaeng. How can I change my name? 다른 얘들은 기생의 몸에 타어나지 않았고 기생이 되기 위해 키웠던 게 아니옵니다. 이 소녀는 기생의 삶 밖에 모른데, 어떻게 온 인생이 담긴 그 이름까지 버릴 수 있는 겁니까? Madam Jung : (breathes in sharply) Listen here, child... 아이야, 한 번 들어봐 Mi-hee : (signals to Madam Jung to let her deal with it) Cheon-geum-ah, think again. All of us have gisaeng names. 천금아, 또다시 생각해보렴. 우린 다 기생이름은 있다. Hwa-myeong : I am also the daughter of a gisaeng. I know that you're proud of your name, but I'm sure your mother would appreciate it if you followed the tradition. 저도 기생딸이라서 이름이라는 것에 대한 자랑스음 아주 잘 알아. 그래도, 우리 기생민의 전통을 따라하면 좋겠다. Myeong-ae : ... it is, in the end, what she did too. It wouldn't be wrong to do so. 천금양 어머니도 결곡엔 그렇게 했느니, 니 잘못이 아니라단다... Hwa-myeong : You think it would be disrespectful to your mother, isn't it? 이름을 바뀌는 것은 어머니에게 무례할 거라고 생각을 하냐?? Cheon-geum  : (nods timidly) Mi-hee : I can assure you, it isn't. In fact, I'm sure your mother, if she were here, would tell you to leave your pride behind and do the same as all your seniors, and be a honourable gisaeng. You understand? 장담할건대, 그렇지는 않아. 천금애미께 여기 계셨다면, 자존심은 버리고 모든 선배들과 똑같이 하고, 훌륭한 기생이 되라고 말씀하실 거예요. 이해했나? Cheon-geum  : (lowers her head at the sudden interjection of the seniors, embarrassed) I understand. I will think about it. 알겠아옵니다. 생각을 할 겁니다. Madam Jung : Lift your head up. I will give you time until the day before your 17th birthday. Have you understood? 고개를 들어라. 17번째 생일의 날까지 시간을 줄게. 알아들어시게. Cheon-geum  : Yes, mother. 네, 어머님

Jang Sook : Madam, isn't it commonplace to name the girls as soon as they enter the gyobang? 마님, 평소에는 이런 소녀들에게 교입할때 기생이름을 지우는 것은 맞습니까? Madam Jung : You are right, Mrs. Jang. But I feel like a child should be able to enjoy her name before having it taken away from her. 맞는 말씀이십니다.그렇지만, 이 아가들이 자신의 이름과 그것의 뜻을 알고 즐기는 시간을 주고 싶다고 생각하옵니다. Jin-yi : This gyobang really seems like the only one in the kingdom to do so. 온 왕국에서 이 교방은 이것을 하는거 유일한 것 같죠... Jang Sook : I have heard of another gyobang in the Pyongyang region, where they allow the girls to choose which field they study in, isn't that good too, madam? 평양쪽 또다른 교방에서 교입하는 소녀들에게 각자의 공부의 길을 선택하는 것을 허락하는 게 들었는데, 그리하는 것도 좋아하지 않습니까? Madam Jung : I disagree with that. I know that some of the best gisaengs especially in dancing and singing have come from that gyobang, but the gisaengs there lack an all-round education. A gisaeng should be able to do anything. 아닙니다. 저 교방 출신 기생들은 특히 무용과 창으로 아주 유명하지만, 모든 필요한 실력을 갖이지는 아니다. 기생이 모든 게 잘할 수 있어야 됩니다. Myeong-ae : I agree, mother. There is no reason a gisaeng who excels at poetry would also excel at dancing. 동의하옵니다, 어머님. 시를 잘 쓰는 기생은 무용을 잘 할 리 없네요. Soon-ryeon, Eui-hye and Hwa-jung : (look at  Wol-hyang with a smile, almost as if taunting her for her two left feet.  Wol-hyang lets out a sigh and stuffs her mouth with rice) Mi-hee : (notices  Wol-hyang, smiles) Mi-soon-ah (referring to Myeong-ae by her gisaeng name) , to realise you're wrong, you don't need to look far. 미순아, 잘못의 말씀을 했던 게 이해하기 위해 멀리서 보지마오. Wol-hyang : (even more embarrassed, she cowers and keeps on stuffing rice into her mouth) Mi-hee : I'm sitting right here, am I not, mother? 저 여긴 앉아 있지 않으나요, 어머님? Wol-hyang : (surprised at the sudden relevation, looks up) Madam Jung : I remember. 기억하단다. Mi-hee : (continues) There were days I practiced until my legs bruised, and I thought of Yoo-hwa (Yi-rin's gisaeng name) and cried, because I wasn't even as good as her toenail when it came to dancing. 유화의 발끝만큼도 춤을 못출 수 있단 것을 생각하며 울었고, 제 다리가 다쳤을적까지 연습하는 나날들이 있었군요 Myeong-ae : (laughs) And weren't there days I made the floor wet with my tears, as my voice cracked at all the songs, Geum-wol? 나도 노래할때 이상한 소리가 내서 내 눈물로 바닥을 젖은 날들이 있었다, 기억하나, 금월아? Hwa-myeong : I remember crying while playing the drums - I hit my head with a drumstick. (laughter erupts across the room) . I got a big red boil on my head like an egg. It's practice, practice and again practice, that made us to be as skilled as we are. (turns to Wolhyang) There's no need to worry at all. If there is a will, there is a way. 나는 복을 치다가 울었던 기억이 난데요 - 복에 내 머리를 부딪쳤다고... 이마가 겨란처럼 빨갛게 부어올랐어요. 역시, 연습, 연습 그리고 연습이 우리를 이렇게 만들어. 월향아,너 걱정하기가 필요없다. 너 이젠 마음 먹었으니 길이 발견될테니. (Wolhyang : bends her head, half in shame, half in relief. The seniors and Madam Jung smile, and everyone continues eating)

[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 도와준���은 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 ��기위해 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 - (23/11/2024)

Episode 4 - (27/11/2024)

Episode 5 - (27/11/2024)

Episode 6 - In the Works!

[ravenadottir]

ok, so we kind of agreed on lucas being at least half korean because of his surname.

it's a little complicated since apparently koh can also be thai and chinese, but if we're talking korean, i would like to find a good name for him.

traditionally korean people do have a korean name besides their english version, like felix (from stray kids). his name is lee felix, but it's also lee yongbok.

so i went into a deep hole, to name characters for a future project, and encountered some options i liked for lucas.

i started by the meaning of the name, then found some options.

Lucas means either "man from Lucania" or bringer of light. since we know lucas wasn't born in Italy, i came to the conclusion that when his parents thought of the name lucas, they may have searched for the meaning and gave it to him because of it.

it could be just because "oh i love the name" but this is my blog and we only work with paranoia and overthinking, so get into it.

thinking about that meaning, i started researching names in korean that could mean the same thing... to come across absolutely nothing. there's no "bringer of light" or synonyms that fit in, BUT, there's a few that mean light, and technically someone that brings light has light in them, right?

i'll just assume you said "yes" and move on.

so, these are the names i found:

Ha-ru (하루) - In addition to being an indigenous Korean name, Ha-ru is also a Japanese name that means springtime, sun, sunlight, sunny. it's mostly given to kids who were born in sunny days. since lucas is an aries, he was born in spring, so... pretty good candidate!

Jeong-hui (정후) - The name Jeong-hui can be created by combining hanja that mean correct, proper, right, gentle, still, or quiet with beauty, glorious, bright, or splendid.

Jung-hee (정희) - Sometimes written as Jeong-hui, both names can be written with hanja meaning correct, still, or gentle, and beauty, bright, or glorious.

Myeong (명) - The Korean name Myeong, also spelled Myung, Myoung, or Myong, evolved from the Chinese name Ming. The hanja 明, meaning brilliance or bright, is used for the surname Myeong and when used in a forename, any one of 19 hanja that read Myeong can be used.

Byung-ho (병호) - Byung-ho combines glorious, bright, luminous, and vast, numerous, great.

Chan-yeol (찬열) - Chan-yeol means bright, vivid, illuminating, and vehement, ardent, and fiery.

to lucas' personality, i think chan-yeol fits in quite well. he is fiery and vehement, besides being HELLA vivid. it kind of became my favorite afterwards. and although there are a lot of names that mean bright or vivid, to me lucas is giving chan-yeol, but i would love to hear what actual korean players have to say about it, so if you're out there, let me know!

[walkietalkiemaniac]

I know I'm being so annoying posting about every single scene but it's MY sleepover and I get to choose the obsession.

So Dongeun just got out of one of the worst confrontations in the show, it seems while everything else healed over her mother is still an open wound in her soul, and at her most vulnerable, in the middle of the night with no one around, the worst possible one of the gang shows up. Now to make it clear, her hatred might be focused on Yeonjin as the leader and culprit of everything that was done to her, Jaejoon and Myeong-o dealt her wounds the girls did not. How much of it was unclear but her reaction to his touch and proximity and So-Hee being pregnant when she died, says enough.

So there she is, shaken and not prepared for this confrontation and he is all in with his jealousy and anger flaring because of Yesol and Doyeong. He seems to hold all the power in the scene, this is the first time in their adult lives Dongeun is being bullied again but she won't give up and get out of her car, she revs up, a bluff both of them are painfully aware of it. He isn't even slightly fazed, he has no doubt in his mind she can't do it, and he seems sure he'll be able to get her out of her car to put his hands on her as he wants.

THEN, as if the roaring of her cars engine was a call for her executioner, his car swerves in between them, putting Jaejoon in the mud. A perfect demonstration of him completing her 1%, what she won't or can't do, he will. He buys her time and room to get out of this situation, asking Jaejoon "Be careful. You don't want to die, right?" and then "If you keep standing there I'll hit you this time" which are perfectly in line with his banter but Jaejoon feels gaslit by their interaction, no way feels threats from the speech of some drunk kid who can't drive. Right?

[dreamingkdrama]

Drama: Vincenzo (Episode 20)

Vincenzo killing Choi Myoung-Hee. In some moment I realized that I hate this woman even more than Jang Han Seok. I didn't make gifs of Myeong-Hee, because she talks too much and I don't want this post to be labeld with violence label. The point here is to appreciate the dark Vincenzo. He can be cute, sweet, charming, kind and everything...but he is not a hero, he is an antihero at best, he is still a badass mafioso who have killed people. But we know why we love him :)

[bitchofdarkness]

Wonder if anyone else caught that before... when Baek Hyang-hee said to Shin Myeong-whi (who was now possessed by the same evil spirit as Ji Cheong-sin had been)

"I thought you at least cared about children."

It was never the evil spirit that spared children, that was the host Cheong-sin who cared about kids, who didn't want them to be afraid and live without being used by the adult that was supposed to care for them. He even killed and consumed one of their own to protect them.

Myeong-whi on the other hand doesn't care about children. Hell, he doesn't even care about his own flesh and blood, Hyeok-u, why would he care about the well-being of a dying little girl (So-eun)?

I think it's interesting to see how the host can still influence the evil spirit. That they technically never had to be evil, but chose to be.

It's a great and subtle way to prequel the story in the second season with Ma Ju-seok who is mostly in control, until he isn't.