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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; 韓琦柱), 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 (김산월) 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]

Photo collection of kisaeng's - Part 4

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

There names go from top left to bottom right.

English - Gisaeng List - Yoon Hae-hong, Park Chae-ju, Park Geum-seon, Park Gyu-wol, Yoon Oh-seon, Un Ok-jin, Yoon Wol-seon, Yoon Dan-sim Korean - 기생명부 - 윤해홍,박채주, 박금선, 박규월, 윤오선, 운옥진, 윤월선, 윤단심

English - Gisaeng List - Jang Gyeong-woo, Jang Soo-bok, Jang Mi-hwa, Jang Bok-sin, Go Yeong-wol, Go Gyu-ok, Go Seon-ok, Jang Myeong-ju Korean - 기생명부 - 장경우, 장수복, 장미화, 장복신, 고영월, 고규옥, 고선옥, 장명주

English - Gisaeng List - Song Ok-yeon, Song Hwa-chun, Go Myeong-seon, Go Yeon-seon, Yang Yu-chun, Yang Yu-seon, Yang Yu-wol, Song Myeong-jeong Korean - 기생명부 - 송옥연, 송화춘, 고명선, 고연선, 양유춘, 양유선, 양유월, 송명정

English - Gisaeng List - Song Geum-jo, Song Myeong-ok, Kang Chu-wol, Kang Hye-hwa, Seo Hye-sun, Seo Yu-wol, Woo Cheon-il, Woo Chae-woon Korean - 기생명부 - 송금조, 송명옥, 강추월, 강혜화, 서혜선, 서유월, 우천일, 우채운

[leaskisses444]

helou gurl imam storitajm

danas prije sata je luka sjeo kraj mn dok sam igrala sims i pito me dal smije on da isproba neki cheat za pare na mom laptopu pa sam mu pustila

onda je poceo sat i ja jos uvijek igram sims pa me profa pita sto klikcem toliko a ja budala kazem da organiziram mape na desktopu

kasnije kad smo dobili zadatak luka me je poceo zajebavat zbog toga sto sam slagala profi al na onaj naci zajebavanja sto momci rade kad te hoce muvat

(inc je predmet business behaviour)

poslije toga smo pricali o body language i kaze nama profa da se svi uhvatimo za ruke i morala sam jebenog luku drzat za ruku (iskr da ti kazem bilo je fino ima mekane ruke)

i nezz jel se to meni ucinilo al kad sam mu dala laptop za cheat msm da mi je reko "tenk ju honey" il tak neki kurac nmp onda je se brzebolje ispravio pa sam se ja pravila ko da nista nisam cula

A J M E

ja sam bez tekstaaaa

opa mikiiiiii

realno ne krivim luku ima dobar ukus

al bitno je sta ti mislis o luki hmm?

AL AJME JOS TO S DRZANJEM RUKU OMG!!!!!

🤭🤭🤭 znaci lukica imam te na oku !!! (i sad me zanima jel ti radi taj cheat zato sta meni rade pa..)

(znaci ja kako sam bolesna sam ostala kod kuce danas i dode mi brat i kaze hej onaj lik iz tvog razreda onaj popularni je pito kako to da nisi dosla u skolu i da ako si bolesna jesi okej ZNACI STA KAKO MOLIM ja sam malo u soku al ok....)

btw tvoja now tema je >>>>> bas je mocna

[444namesplus]

aba abe abh abi abo abu acha ache achi acho achu ada ade adh adi ado adu afa afe afh afi afo afu aga age agh agi ago agu aha ahe ahi aho ahu aja aje aji ajo aju aka ake akh aki ako aku al ala ale alh ali alo alu am ama ame ami amo amu an ana ane ani ano anu apa ape aph api apo apu ar ara are arh ari aro aru asa ase ash asi aso asu ata ate ath ati ato atu ava ave avi avo avu az aza aze azh azi azo azu ba bal bam ban bar baz be bel bem ben ber bez bha bhe bhi bho bhu bi bil bim bin bir biz bo bol bom bon bor boz bu bul bum bun bur buz cha chal cham chan char chaz che chel chem chen cher chez chi chil chim chin chir chiz cho chol chom chon chor choz chu chul chum chun chur chuz da dal dam dan dar daz de del dem den der dez dha dhe dhi dho dhu di dil dim din dir diz do dol dom don dor doz du dul dum dun dur duz eba ebe ebh ebi ebo ebu echa eche echi echo echu eda ede edh edi edo edu efa efe efh efi efo efu ega ege egh egi ego egu eha ehe ehi eho ehu eja eje eji ejo eju eka eke ekh eki eko eku el ela ele elh eli elo elu em ema eme emi emo emu en ena ene eni eno enu epa epe eph epi epo epu er era ere erh eri ero eru esa ese esh esi eso esu eta ete eth eti eto etu eva eve evi evo evu ez eza eze ezh ezi ezo ezu fa fal fam fan far faz fe fel fem fen fer fez fha fhe fhi fho fhu fi fil fim fin fir fiz fo fol fom fon for foz fu ful fum fun fur fuz ga gal gam gan gar gaz ge gel gem gen ger gez gha ghe ghi gho ghu gi gil gim gin gir giz go gol gom gon gor goz gu gul gum gun gur guz ha hal ham han har haz he hel hem hen her hez hi hil him hin hir hiz ho hol hom hon hor hoz hu hul hum hun hur huz

iba ibe ibh ibi ibo ibu icha iche ichi icho ichu ida ide idh idi ido idu ifa ife ifh ifi ifo ifu iga ige igh igi igo igu iha ihe ihi iho ihu ija ije iji ijo iju ika ike ikh iki iko iku il ila ile ilh ili ilo ilu im ima ime imi imo imu in ina ine ini ino inu ipa ipe iph ipi ipo ipu ir ira ire irh iri iro iru isa ise ish isi iso isu ita ite ith iti ito itu iva ive ivi ivo ivu iz iza ize izh izi izo izu ja jal jam jan jar jaz je jel jem jen jer jez ji jil jim jin jir jiz jo jol jom jon jor joz ju jul jum jun jur juz ka kal kam kan kar kaz ke kel kem ken ker kez kha khe khi kho khu ki kil kim kin kir kiz ko kol kom kon kor koz ku kul kum kun kur kuz la lal lam lan lar laz le lel lem len ler lez lha lhe lhi lho lhu li lil lim lin lir liz lo lol lom lon lor loz lu lul lum lun lur luz ma mal mam man mar maz me mel mem men mer mez mi mil mim min mir miz mo mol mom mon mor moz mu mul mum mun mur muz na nal nam nan nar naz ne nel nem nen ner nez ni nil nim nin nir niz no nol nom non nor noz nu nul num nun nur nuz oba obe obh obi obo obu ocha oche ochi ocho ochu oda ode odh odi odo odu ofa ofe ofh ofi ofo ofu oga oge ogh ogi ogo ogu oha ohe ohi oho ohu oja oje oji ojo oju oka oke okh oki oko oku ol ola ole olh oli olo olu om oma ome omi omo omu on ona one oni ono onu opa ope oph opi opo opu or ora ore orh ori oro oru osa ose osh osi oso osu ota ote oth oti oto otu ova ove ovi ovo ovu oz oza oze ozh ozi ozo ozu pa pal pam pan par paz pe pel pem pen per pez pha phe phi pho phu pi pil pim pin pir piz po pol pom pon por poz pu pul pum pun pur puz ra ral ram ran rar raz re rel rem ren rer rez rha rhe rhi rho rhu ri ril rim rin rir riz ro rol rom ron ror roz ru rul rum run rur ruz sa sal sam san sar saz se sel sem sen ser sez sha she shi sho shu si sil sim sin sir siz so sol som son sor soz su sul sum sun sur suz ta tal tam tan tar taz te tel tem ten ter tez tha the thi tho thu ti til tim tin tir tiz to tol tom ton tor toz tu tul tum tun tur tuz uba ube ubh ubi ubo ubu ucha uche uchi ucho uchu uda ude udh udi udo udu ufa ufe ufh ufi ufo ufu uga uge ugh ugi ugo ugu uha uhe uhi uho uhu uja uje uji ujo uju uka uke ukh uki uko uku ul ula ule ulh uli ulo ulu um uma ume umi umo umu un una une uni uno unu upa upe uph upi upo upu ur ura ure urh uri uro uru usa use ush usi uso usu uta ute uth uti uto utu uva uve uvi uvo uvu uz uza uze uzh uzi uzo uzu va val vam van var vaz ve vel vem ven ver vez vi vil vim vin vir viz vo vol vom von vor voz vu vul vum vun vur vuz za zal zam zan zar zaz ze zel zem zen zer zez zha zhe zhi zho zhu zi zil zim zin zir ziz zo zol zom zon zor zoz zu zul zum zun zur zuz

[steff-02]

Avant le décollage, nous recevons une serviette chaude pour se rafraîchir le visage et un verre de bienvenue. Les hôtesses sont hyper chou !

20h15, nous décollons avec 1 heure et 10 minutes de retard. Pas de soucis pour nous puisque nous avons une longue escale à notre arrivée. Dès notre altitude de croisière atteinte, nos repas sont préparés et servis. Nous avons mangé de l’agneau très tendre accompagné d’une purée de petit pois, et comme dessert une panna cotta fruit de la passion 😊 Petite toilette rapide puis un film pour s’endormir🎥. Nous avons relativement bien dormi, nos sièges de Premium Economy étaient confortables et Dan a de la place pour étendre ses jambes ;) au réveil, on nous sert un traditionnel English Breakfast et très vite, il faut préparer la cabine pour l’atterrissage 🛬.

Nous atterrissons sans encombres à 8h20 à l’aéroport international OR Tambo à Johannesburg. Nous rejoignons l’immigration, où nous attendons 40 minutes avant de recevoir notre stempel. Étant donné qu’il n‘y a pas assez de page sur un passeport, la madame n‘a pas trouvé mieux que de mettre son tampon sur la même page que celui du Chili…🤦🏽 Bref…nous allons ré-enregistrer nos bagages pour les vols internes puis partons à la recherche d’une carte sim sud-africaine. Il ne nous faudra pas plus de 5 minutes pour avoir notre nouveau numéro de téléphone et notre forfait Internet !

Plus que 5h avant notre prochain vol. Nous nous installons boire un jus de fruit 🥤puis allons faire un tour à la terrasse panoramique. Bon finalement on y est pas resté très longtemps, c’était plutôt une grande baie vitrée derrière laquelle il faisait très chaud 🥵 nous nous sommes gentiment dirigé vers la sécurité puis nous avons mangé 2 bons steaks pour la modique somme d‘environ 7.50 CHF.

Les deux dernières heures d‘attente sont les plus longues. Finalement, à 15:10, nous embarquons les petits bus qui nous conduiront jusqu’à l‘avion. Et quel avion…nous avons pris le plus grand avion passagers au monde (presque 500 passagers) pour arriver à Johannesburg et maintenant nous embarquons à bord d‘un petit avion d’à peine 50 places ! Le vol d’une quarantaine de minutes nous emmène dans un tout petit aéroport plein de charme. Il y a une une très belle statue d‘une gazelle, juste devant l’aéroport, que nous observons en rejoignant notre voiture de location. Le temps de déposer nos bagages et de faire le tour de la voiture que, très surpris, la statue n’est plus là. Il ne s’agissait pas d’une statue mais d‘un groupe de 4 gazelles qui se promenaient sur le parking 🦌

La conduite à gauche et les voitures faites „à l‘envers“, ça surprend ! Il faut un moment pour s‘y habituer. C’est Dan qui prendra le volant jusqu’à l’hôtel. 1h30 de route dont presque la moitié de nuit 💫 (et oui c’est l’hiver ici le soleil de couche tôt :/). Nous arrivons à l’hôtel vers 18h30 et découvrons une chambre magnifique ! Et une douche INCROYABLE !!! J‘en profiterai plus tard autrement on ne va jamais aller souper 😂 On ne va pas faire tard ce soir car demain c’est l’entrée dans le parc national et on veut être en forme ! 😘

[a-z0-9-i-n-gram-completionist]

1:    0 1 2 4 8 9 a b c d e f g h i j k l m n o p q r s t u v w x y z    32/36    (26/26)    (6/10)

2:    08 11 18 19 41 42 84 90 ab ac ad ag ai aj ak al am an ap ar as at av aw ay ba bd be bi bl bo br bs bu by ca cc ce ch ci ck cl co cr cs ct cu cy da dd de df di dl dn do dr ds du dy ea eb ec ed ee ef eg eh ei el em en eo ep eq er es et ev ew ex ey fa fe fi fo fr ft fu ga ge gh gi gl go gr gs gt gy ha he hi hn ho hr ht hu hy ia ib ic id ie if ig il im in io ip ir is it iu iv iz jo ju ke ki kn ks ky la ld le lf li lk ll lm lo ls lu lv ly ma me mh mi mo mp ms mu my na nb nc nd ne nf ng nh ni nk nl nn no ns nt nu nv ny oa ob oc od oe of og oi ol om on oo op or os ot ou ow ox oy pa pe ph pi pl pm po pp pr ps pt pu qu ra rd re rg ri rk rl rm rn ro rp rr rs rt ru ry rz sa sc se sh si sk sm sn so sp sq ss st su sw sy ta te th ti tl to tr ts tt tu tw ty ua ub uc ud ue ug ui ul um un uo up ur us ut ve vi wa we wh wi wo wr xc xe xi xt xu yb yg yl ym yn yo yp ys yx ze zo    290/1296    (282/676)    (8/100)

3:    184 190 842 908 abd abl aca acc aci ack acr acs act ade ads age ain ajo ake aki ale ali alk all alm alo als ame ami amp ana anc and ane ang ani ans ant anu any ape app ard are arg ark arl arm aro arr ars art ase ask ass ata ate ath ati ato att atu ave avi awa awr ayb bab bac bal bas bdo bea bed beh bel bet bey bio bis bit ble blo bly bod bon bou bow boy bra bre bst bul bur but cal can cav cce ccy cee cen cep che chi cia cie cin cks cky cle clo clu coc com con cos cre cri cru cti ctu cul cut cyx dar dda dea dee den deo dep der des dfi did die din dis dle dne doe dom don dor dul dur ead eak eal ear eat ebr eci ecr ect edd edi eed eei eem een efe egi egs ehi ein eir eit ela ele elf ell elo elv ely ema eme emo emp ems emu enb enc end eng enh eno ent env eos eou epo eps ept equ era ere eri erl erm ern err ers ert eru ery erz esc ese esn esp ess est eta ete eto etw ety eve evi ewh exc exe ext exu eyo fam far fat fem fer fes fib fie fif fin fir fis for fos fra fro fth fur fus gap gel gem ges ght gic gif gio gir gla glu gol gon gou gre gro gth gys han hap hat hav hea hei hem hen her hes hey hic hig him hin hip hir his hit hiu hna hol hot hou hro hum hus hym ial iar ibe ibi ibu ica ice ich ick icu ide idf ied ien ier ies iet ife ifi ift igh ila ili ill ima imi ims ina inc ind ine inf ing ink ins int inu iny iof ion ior iou ips ird irs isc ise ish iso isp iss ist ite ith iti its itt ity ium ive ize joi jor jus jut ked kel kes kin kiv kne kno ksc lan lar lat lde leg len les let lex lia lie lif lis lit lli llo lls lly lmo loa log lon loo lop lou low lso lue lun lus lvi lym lyp mag maj mak mal man mar mas mat may mel men mer met mew mil min mit moo mor mos mou mph mpl mpr mse mur mus myg nac nad nal nat nbo nce ncl nde ndi ndn ndo nds ndu nec nee nei neo nes nex nfr nge ngs ngt ngy nhn nim nky nly nne nop nor nos not now nox nse nsi nst nsw nta nte nti ntl nto ntr nts ntu nuo nus nve oac oat oba occ oce oci odi ody oes ofi oft ogi ogo ogs oin old ole olo oma ome omi omp omy ona ond one onl onn ons ont ool oos oot ope ops opt ora org ori orm ors ose osi oss ost osu ota ote oth oti oto oug oun oup ous out owe owi oxi oyl par pat pea pec ped pel per pho pic pin ple pli pmh poi pos ppa ppe ppo pre pri pro pte pti pub qua que qui rac rai ral ran rap rat raw rdl rea rec red ref reg rel rem ren res ret rev rge ria rib rig rin rio ris rit rki rks rly rma rmi rmo rms rns roa rob roc rog rom rop ros rou row rpr rra rro rru rsa rse rsi rst rte rth rti rto rts ruc rum rus sac sal sam sav say sch sci scl scr scu sec sed see sel seq ses sha she sid sim sio sis sit siv siz ske ski sma smo soc sof som sop sor spe spi spo squ sso ssu sta ste sti stl sto sts stu sty sua sub suc sue sup sur sus swe syn tai tak tal tan tar tat tea teb ted ten ter tes tha the thi tho thr thu thy tib tic tid tin tio tip tis tiv tle tly tom ton too tot tre tri tsi tte ttl tty tua tud tur tus twe two tyl typ ual uar uat ubi ubs uch uco udi uea uen ues ugh uit ula ume und ung unt unu uou upp ups ure uri urn uro urp urr urs urt usc use usi ust usu uta ute uts vel ver vic vid vil vit war wee wel wer wha whe whi who why win wit xcl xem xio xte xtr xus ybe ygo yle ylo yme ymp ymu yno yon you ypi ypm yst zoo    802/46656    (798/17576)    (4/1000)

4:    1842 1908 abdo able ably acce acin acru acti actu adep ages ainf ajor akes akin alis allo alls ally almo alog also amil ampl anal anat ance ands andu aneo ange anim answ ants anus aped appa appe area aren arge arki arks arly arms arou arra arsa arte arti arts ased aske atar ated ater athe atid atio ativ atom atte atty atur avit awar aybe babl back ball base bdom bear bedd behi belo betw beyo biof bitt blog bodi body bone boun boyl brat brev bsta bula burr bute call cavi ccen ccyx ceed cent ceps cept cher chiu cial cien ciet cing cles cloa clus cocc comp conn cons cont cosu cret crib crum ctio ctua ctus cula cuta dard ddar deal deed denb denc deos depo dept desc dfis died dies diet ding disp dnes does dome domi dors dula duri eaki eall ears eart ebra ecia ecre ecti ectu edda edin edis eedi eein eems efer egio ehin eing eith elat elet elop elow elvi emal emel emen emor empl emur enbo ence endi ends engt engy enhn enop enor enti entl entu enve eous epos epti eque eral eran ered eres erio erly ermi erru erse ersi erte erti erto erus escr espe esti esty etal etat eton etwe ever evic evid ewha excl exem exte extr exus eyon fami fatt fema femo femu fest fibu fied fift find firs fish form foss frac frog from furt fuse gely geme gest gica gion gird glan glue gold gona gous grea grou gyst hape have head hear heir here hert herz hese hich high hims hind hing hips hird hite hium hnac hole hoto houg hroa hume hyme hymu iall ibed ibio ibul ibut ical icep icks icky icul idea iden ideo ides idfi ienc iety ifes ifie ifth ight ilar ilia illi imag imal imil imse inal incl inde infr ings inky inse insi inst inte into ints inuo iofi ions ious irdl irst isch ishe isop ispo issu ists ites ithe itio ittl itty ivel join jori just juts kele king kink kive knee know ksch land larg larl late lati latu lden legs leng leta leto lexu liar lier life lifi litt llie llow lmos loac logi logo lond loos lope lops lowe lowi lung lusi lvic lymp lypm mage majo make male mall many mark mass mati mayb mely meno ment meru meta mewh mila mili mina mite moot mora most moun mous mple mpli mpri msel murs musc must mygo naci nads nali nalo nato nboy nclu ndee nder ndin ndne ndon ndul nect neit neou ness next nfro ngem ngth ngys nhna nima nnec nopt norm nost note noxi nsec nseq nsid nsis nste nswe ntai nter ntin ntio ntly ntri ntua nuou nusu nvel oaca obab occy ocee ocie odie oesn ofib ogic ogou oint olde olog omat omen omew omin ompr onad ondo only onne onse onsi onta onti ontr oolo oose ooth oped oper opte oral oria orit orma ormo orsa oses osit osso oste osto osty osus otal oted othe otic ough ound ount oups outs ower owin oxio oylo pare part patt pear peci pelv perl phot pica pine plex plif poin pose posi post ppar ppea ppos pred pris prob proc prop pter ptid pubi quar quea quen ques quit ract rain rang rans rapp rate rath rawr rdle real reat rect redi refe regi rela reme rent rest rete reve revi rgel rges rial ribe ribu righ ring rior rise rity rkiv rksc rmat rmit rmou roat roba roce rogs rope rost roun roup rowe rpri rran rrou rrow rruc rsal rsed rsio rstl rteb rter rthe rtic rton ruco sacr sacs sals same save sche schi scie scle scri scul secr sect seei seem self sequ shap shes side sidf simi sion sist siti sits sive size sked skel skin smal smoo soci soft some sopt sori spec spin spos sque ssor ssue stan stea ster stic stin stio stly stom stot stud styl sual subs such supp surp surr swer syno tain take talk tanc tane tars tata tead tebr tend tera tere teri term tern than that thei them ther thes they thig thin thir this thou thro thus thym tibi tica tick ticu ting tinu tiny tion tips tiss tive toma tomy tons tota toti trem trib tsid tter ttle tual tuat tudi ture turn twee tyle typi uall uart uate ubis ubst ucos udie ueak uenc uest uite ular ulat umer unde undi undn ungs unus uous uppo urin urns uros urpr urro urth uscl uscu used usio usiv usua utan utsi velo vely verr vers vert very vice vide vill vity ware ween well were wers what when whic whit whol wing with xclu xemp xiou xten xtre ygol ylou ymen ymph ymus ynos

yond ypic ypmh ysto zool    815/1679616    (813/456976)    (2/10000)

5:    abdom accen acing acrum actio actua adept ainfr ajori aking allow almos alogo amili ample analo anato andul aneou angem anima answe appar appea arent argel arges arkiv arksc aroun arran arsal arter artic asked atars atera ather ation ative atomy atter ature avity aware bably balls based bdome bdomi bedda behin below betwe beyon biofi bitty bodie bound boylo brate brevi bstan burro cally cavit ccent ceedi centu cepti cherz chium ciall cienc ciety cloac clusi coccy compr conne conse consi conta conti contr cosus crete cribe ction ctual cular culat cutan ddard denbo dence depos descr dfish dings dispo dness doesn domen domin dorsa dular durin eakin eally earts ebrat ecial ecret ectio ectus eddar eding edisp eedin eeing egion ehind eithe elati eleta eleto elope elops elvic emale emely ement emora empli emurs enboy endin ength engys enhna enopt enorm entio ently entua envel eposi eptid equen erans erest erior ermit erruc ersed ersio erteb ertic erton escri espec estin estio estyl etata etons etwee evers evice evide ewhat exclu exemp exten extre eyond famil fatty femal femor femur festy fibul fifth first fishe forma fosso fract frogs furth fused gemen gical girdl gland golde gonad great group gysto haped heart herto himse hnaci hough hroat humer hymen hymus ially ibiof ibula ibute icall iceps icept icula ideal idenc ideos idfis ience ifest ified ilarl iliar illie image imila imsel inali inclu indee infro insec insid inste inter inuou iofib irdle irstl ischi ishes isopt ispos issue ither ition ittle ively joint jorit kelet kinky ksche lands landu large larly later lativ latur ldenb lengt letal leton lexus lifes lifie littl llier llowi lmost loaca logic logou londo loose loped lower lowin lungs lusio lusiv lymph lypmh mages major makes marks matid matio maybe menop menti merus metat mewha milar milia minal mites mooth moral mount mplex mplif mpris mself muscl muscu mygol nacin nalis nalog natom nboyl nclus ndeed nding ndnes ndula necti neith neous nfrog ngeme ngyst nhnac nimal nnect nopte normo nosto noted noxio nsect nsequ nside nsist nstea nswer ntain ntere ntinu ntion ntrib ntuat nuous nusua nvelo obabl occyx oceed ociet odies ofibu ogica ogous oints olden ologi omati omewh omina ompri onads ondon onnec onseq onsis ontai ontin ontri oolog operl opter orial ority ormat ormou orsal ositi osits ossor oster ostot ostyl other otica ounde oundi oundn outsi owers owing oxiou oylou paren parti patte pears pecia pelvi perly photo pical plexu plifi point poses posit poste ppare ppear ppose predi prise proba proce prope ptera pubis quart queak quenc quest quite racti rainf range rathe reall rectu redis refer regio relat remel rentl resti rever revic rgely rgest ribed ribut right rkive rksch rmati rmite rmous robab rocee roper rosty round roups rower rpris rrang rroun rrowe rruco rsals rsion rstly rtebr rther rtica rticu rucos sacru scher schiu scien scles scrib scula secre seein seems seque shape sides sidfi simil sists sitio sivel skele small smoot socie somew sopte soria speci spine spose squea ssori stanc stead steri stick sting stion stoma stoti studi style suall subst suppo surpr surro swere synos tance taneo tarsa tatar tebra tendi tends teral teran teres terio termi their there thert these thigh thing third thoug throa thymu tibio tical ticks ticky ticul tinuo tions tissu tomat total totic treme tribu tside ttern tuall tuate tudie turns tween typic ually uarte uated ubsta ucosu udied ueaki uence uesti ularl ulatu umeru under undin undne unusu uppos uring urost urpri urrou urrow urthe uscle uscul usion usive usual utane utsid velop verru verse versi verte verti vicep viden video villi wered which white whole xclus xempl xious xtend xtrem ygold ymeno ynost ypica ystom zoolo    622/60466176    (622/11881376)

6:    abdome abdomi accent action actual ainfro ajorit allowi almost alogou amilia amplex analog anatom andula aneous angeme animal answer appare appear arentl argely argest arkive arksch around arrang arsals articu atarsa ateral athert ations attern bdomen bdomin beddar behind betwee beyond biofib bodies boylou brevic bstanc burrow cavity ccentu ceedin centua ceptid cially cience cloaca clusio clusiv coccyx compri connec conseq consis contai contin contri cribed ctions ctuall cularl culatu cutane denboy deposi descri dfishe dispos domina dorsal during eaking ebrate eciall ecrete ection eddard edings edispo eeding either elativ eletal eleton eloped emoral emplif enboyl ending engyst enhnac enopte enormo ention entuat envelo eposit equenc eresti ermite erruco ersion ertebr ertica escrib especi esting estion estyle etatar etween everse evicep eviden exclus exempl extend extrem famili female femora femurs festyl fibula firstl fishes format fossor fracti furthe gement girdle glands glandu golden gonads groups gystom hearts herton himsel hnacin humeru hymeno ibiofi ically icepti icular idence idfish ifesty ilarly illier images imilar imself inalis inclus indeed infrog insect inside instea intere inuous iofibu irstly ischiu isopte ispose jority keleta keleto kscher landul largel larges latera lative lature ldenbo length letons lifest lified little llowin logica logous london lowing lusion lusive majori marksc mation menopt mentio metata mewhat milarl miliar minali mplexu mplifi mprise muscle muscul mygold nacing nalogo natomy nboylo nclusi ndness ndular nectio neithe nfrogs ngemen ngysto nhnaci nnecti nopter normou nostot noxiou nseque nsists nstead nswere nteres ntinuo ntribu ntuate nusual nvelop obably oceedi ociety ofibul ogical oldenb ologic omatid omewha ominal ompris onnect onsequ onsist ontain ontinu ontrib oologi operly optera ormati ormous ositio ossori osteri ostoti ostyle otical ounder oundin oundne outsid oxious parent partic patter pecial pelvic plexus plifie points positi posits poster pparen ppears predis probab procee proper pteran quarte queaki quence questi ractio rainfr rangem rather really rectus redisp region relati remely rently restin revers revice ribute rksche rmatio rmites robabl roceed roperl rostyl rounde roundi roundn rowers rprise rrange rround rrower rrucos rtebra rtical rticul rucosu sacrum scherz schium scienc scribe scular sculat secret seeing sequen shaped sidfis simila sition sively skelet smooth societ somewh sopter sorial specia sposes squeak ssoria stance sterio sticks sticky stomat stotic studie sually substa suppos surpri surrou swered synost taneou tarsal tatars tebrat tendin terans terest terior termit therto though throat thymus tibiof ticall ticula tinuou tissue tomati totica tremel tribut tually tuated tudied typica uarter ubstan ucosus ueakin uestio ularly ulatur umerus unding undnes unusua uppose urosty urpris urroun urrowe urther uscles uscula usivel usuall utaneo utside velope velops verruc versed versio verteb vertic viceps vicept videnc videos villie xclusi xempli xtendi xtends xtreme ygolde ymenop ynosto ypical ystoma zoolog    446/2176782336    (446/308915776)

7:    abdomen abdomin accentu actuall ainfrog ajority allowin alogous amiliar amplexu analogo anatomy andular angemen answere apparen appears arently arksche arrange articul atarsal atherto bdomina beddard between biofibu brevice bstance burrowe ccentua ceeding centuat clusion clusive compris connect consequ consist contain continu contrib ctually cularly culatur cutaneo denboyl deposit describ dfishes dispose dominal ecially ections edispos eedings elative eletons emplifi enboylo engysto enhnaci enopter enormou entuate envelop eposits equence erestin ermites errucos ertebra ertical escribe especia etatars eversed eviceps evicept evidenc exclusi exempli extendi extends extreme familia femoral festyle firstly formati fossori fractio further glandul goldenb gystoma himself hnacing humerus hymenop ibiofib iceptid icularl idfishe ifestyl imilarl inclusi infrogs instead interes iofibul ischium isopter isposes keletal keleton kscherz landula largely largest lateral ldenboy lifesty llowing logical lusivel majorit marksch mations menopte mention metatar milarly minalis mplexus mplifie muscles muscula mygolde nalogou nboylou nclusio nection neither ngement ngystom nhnacin nnectio noptera normous nostoti noxious nsequen nswered nterest ntinuou ntribut ntuated nusuall nvelope nvelops oceedin ofibula oldenbo ologica omewhat ominali omprise onnecti onseque onsists ontinuo ontribu oologic opteran ormatio osition ossoria osterio ostotic oticall ounding oundnes outside parentl particu pattern peciall plified positio posteri pparent predisp probabl proceed properl pterans quarter queakin questio raction rainfro rangeme redispo relativ resting reverse revicep rkscher rmation robably roceedi roperly rostyle rounder roundin roundne rrangem rroundi rrowers rrucosu rtebrat rticula rucosus science scribed sculatu secrete sequenc sidfish similar skeleta skeleto society somewha soptera special squeaki ssorial sterior stomati stotica studied substan suppose surpris surroun synosto taneous tarsals tatarsa tebrate tending teresti termite therton tibiofi tically ticular tinuous tomatid totical tremely tribute typical ubstanc ueaking uestion ulature undness unusual urostyl urprise urround urrower uscular usculat usively usually utaneou veloped verruco version vertebr vertica vicepti vidence villier xclusiv xemplif xtendin xtremel ygolden ymenopt ynostot ystomat zoologi    297/78364164096    (297/8031810176)

8:    abdomina accentua actually ainfrogs allowing amplexus analogou angement answered apparent arkscher arrangem articula atarsals atherton bdominal biofibul brevicep burrower ccentuat ceedings centuate clusivel comprise connecti conseque consists continuo contribu culature cutaneou denboylo deposits describe disposes dominali edispose emplifie enboylou engystom enhnacin enoptera enormous entuated envelope envelops eresting errucosu ertebrat escribed especial etatarsa evicepti evidence exclusiv exemplif extendin extremel familiar formatio fossoria fraction glandula goldenbo gystomat hymenopt ibiofibu icularly idfishes ifestyle imilarly inclusio interest iofibula isoptera keletons landular ldenboyl lifestyl lusively majority marksche menopter metatars mplified muscular musculat mygolden nalogous nclusion nections ngystoma nhnacing nnection nopteran nostotic nsequenc nteresti ntinuous ntribute nusually nveloped oceeding oldenboy ological ominalis onnectio onsequen ontinuou ontribut oologica opterans ormation ossorial osterior ostotica otically oundness parently particul pecially position posterio pparentl predispo probably proceedi properly queaking question rainfrog rangemen redispos relative reversed reviceps revicept rkscherz rmations roceedin rounding roundnes rrangeme rroundin rrucosus rtebrate rticular sculatur sequence sidfishe similarl skeletal skeleton somewhat sopteran speciall squeakin stomatid stotical substanc surprise surround synostot tatarsal terestin termites tibiofib ticularl toticall ubstance unusuall urostyle urroundi urrowers usculatu utaneous verrucos vertebra vertical viceptid xclusive xemplifi xtending xtremely ygoldenb ymenopte ynostoti ystomati zoologic    189/2821109907456    (189/208827064576)

9:    abdominal accentuat analogous apparentl arkscherz arrangeme articular bdominali biofibula breviceps brevicept burrowers ccentuate centuated clusively connectio consequen continuou contribut cutaneous denboylou described dominalis edisposes emplified engystoma enhnacing enopteran enveloped errucosus ertebrate especiall etatarsal eviceptid exclusive exemplifi extending extremely formation fossorial glandular goldenboy gystomati hymenopte ibiofibul inclusion interesti isopteran ldenboylo lifestyle markscher menoptera metatarsa musculatu mygoldenb ngystomat nnections nopterans nostotica nsequence nterestin oceedings oldenboyl onnection onsequenc ontinuous ontribute oological ormations ostotical particula posterior pparently predispos proceedin rainfrogs rangement redispose revicepti roceeding roundness rrangemen rrounding rticularl sculature sidfishes similarly skeletons sopterans specially squeaking stoticall substance surroundi synostoti tatarsals teresting tibiofibu ticularly totically unusually urroundin usculatur verrucosu vertebrat xclusivel xemplifie ygoldenbo ymenopter ynostotic ystomatid zoologica    112/101559956668416    (112/5429503678976)

10:    abdominali accentuate apparently arrangemen articularl bdominalis brevicepti ccentuated connection consequenc continuous contribute engystomat enopterans especially etatarsals exclusivel exemplifie formations goldenboyl gystomatid hymenopter ibiofibula interestin isopterans ldenboylou markscherz menopteran metatarsal musculatur mygoldenbo ngystomati nostotical nteresting oldenboylo onnections onsequence ostoticall particular predispose proceeding redisposes reviceptid roceedings rrangement rticularly stotically surroundin synostotic tibiofibul urrounding usculature verrucosus vertebrate xclusively xemplified ygoldenboy ymenoptera ynostotica zoological    60/3656158440062976    (60/141167095653376)

11:    abdominalis accentuated arrangement articularly breviceptid connections consequence engystomati exclusively exemplified goldenboylo hymenoptera interesting menopterans metatarsals musculature mygoldenboy ngystomatid nostoticall oldenboylou ostotically particularl predisposes proceedings surrounding synostotica tibiofibula ygoldenboyl ymenopteran ynostotical    30/131621703842267136    (30/3670344486987776)

12:    engystomatid goldenboylou hymenopteran mygoldenboyl nostotically particularly synostotical ygoldenboylo ymenopterans ynostoticall    10/4738381338321616896    (10/95428956661682176)

13:    hymenopterans mygoldenboylo synostoticall ygoldenboylou ynostotically    5/170581728179578208256    (5/2481152873203736576)

14:    mygoldenboylou synostotically    2/6140942214464815497216    (2/64509974703297150976)

Why are rain frogs so round? What's /inside/ of them around such an itty bitty skeleton?

So it turns out this is a really interesting question.

The first thing we must be aware of is that rainfrogs as we see them in videos of them squeaking are not quite the same shape as they are when at rest:

[x]

But you are quite right, they are very round. This is exemplified by the skeletal photo you refer to:

[X]

So what are we seeing?

Well, firstly, note that the body cavity in these frogs actually envelops the femurs, such that only the tibiofibula (fused in frogs) and the tarsals and metatarsals are outside the body. The arms are quite similarly enveloped, but a bit of the humerus does extend outside the body cavity too. This predisposes them to a rounder body shape.

Next, note the ilia - the U-shaped bone in the pelvic region. These in some breviceptid frogs are synostotically fused with the sacrum - that is to say, they are bound by bone-based connections to the bow-shaped vertebra at their tips. This whole joint seems to be quite smooth, and as a consequence, the back of the frog is quite smooth. The other thing we can see here is that the urostyle (i.e. the frog version of a coccyx) juts quite far beyond the ischium and pubis. This extends the body cavity beyond the hips. Note also that the pelvic girdle seems to be largely below the spine, rather than the typical position for frogs behind it and continuous with it. This makes the legs sit below the spine, rather than at its end, enhnacing the vertical roundness of the animal.

Next, let’s talk some soft tissue. Now, I’m not as familiar with soft-tissue in frogs as I am their skeletons, so you’ll have to bear with me a bit (rawr). Beddard (1908!!) studied the soft tissue of Breviceps verrucosus Rapp 1842. It seems that the majority of the body of these frogs is actually muscle. Beddard noted that muscles join the leg at the knee that extend into the body cavity, such that the inclusion of the thigh in the body cavity is further accentuated by musculature. The rectus abdominalis muscle is unusually large, extending from the lower abdomen up and around the sides of the body. Indeed, this large size appears to be the pattern with all of the major muscles, though in the throat the typical arrangement of large and small muscles is somewhat reversed. On the lateral side of the head, there is a substance that is not muscle, but appears to be loose tissue in which sits what is apparently the thymus gland.

There is a very large gap between the end of the urostyle and the anus (one fifth of the total length of the frog), in which there are almost no muscles, save for the one surrounding the lower cloaca. On either side of this area, between the posterior-most muscles of the thigh, lie two large ‘lymph-hearts’, as described by Beddard. These are between one quarter and one third of the total length of the frog. A further lypmh-sac sits between these lymph-hearts and the skin of the femoral region, and they are thus probably analogous to the femoral lymph-sacs of other frogs.

I find it interesting that Beddard (1908) did not mention any glandular formations in the dorsal region. As is evidence from many images (see below), these frogs are able to secrete a white, sticky, noxious substance from their skin (which they actually have to use during amplexus, as the male is too small relative to the female to mount her properly, and so he sticks himself to her with his glandular glue… kinky).

[x]

These glands do not apparently take up a great deal of the cutaneous tissue, and so I suppose are of no consequence to the size of the frog, especially relative to its enormous muscles.

The diet of these frogs consists almost exclusively of hymenopterans and isopterans (ants and termites). Neither of these insect groups are particularly fatty, so it is little surprise that their bodies appear to contain no large fat deposits - fatty bodies extend from the gonads up to the lungs and heart, but these comprise only a tiny fraction of the frog’s mass, and don’t contribute to the round shape. Instead, their bodies are extremely muscular, allowing them to be adept burrowers, ideal for their fossorial lifestyle.

So TL;DR: rain frogs are little balls of muscle (maybe the largest muscle mass relative to body mass of any vertebrate? science just doesn’t know).

Ref:

Beddard, F.E. 1908. On the Musculature and other Points in the Anatomy of the Engystomatid Frog, Breviceps verrucosus. Proceedings of the Zoological Society of London, 1908:11-41 [x]

[codetrichesims]

Comment Tuer un Sims 4 : Toutes les façons de mort d'un Sim

Découvrez toutes les façons de tuer un Sim dans Les Sims 4. La mort Des accidents aux actions intentionnelles, parcourez le guide complet des fins possibles pour un Sim. Les Sims 4 est un jeu populaire de simulation de vie qui vous permet de contrôler la vie de personnages virtuels appelés Sims. lors que de nombreux joueurs s'attachent à profiter de la vie, des relations et des aspirations de leurs Sims, d'autres peuvent être attirés par le côté sombre du jeu en provoquant la tuerie des personnages virtuels des Sims 4. Vous pouvez rendre leur vie heureuse, mais vous pouvez aussi mettre fin à leur existence virtuelle si vous le souhaitez. Ici, nous allons explorer les différentes façons de comment tuer un Sims 4.

Les cinq meilleures façons de tuer un Sim dans Les Sims 4

- ✅ Les Sims peuvent être tués en buvant trois boissons au jus de scarabée. - ✅ Les Sims peuvent être tués en étant écrasés par un lit Murphy. - ✅ Les Sims peuvent être tués en étant envahis par des mouches. - ✅ Les Sims peuvent être tués par une plante adulte qui les mange. - ✅ Les Sims peuvent être tués lorsqu’ils sont frappés par la foudre plusieurs fois pendant un orage. Remarque : Lorsque vous tuez un Sim dans le jeu Sims 4, assurez-vous que la ressusciter est très difficile et que vous risquez de perdre définitivement le personnage de ce Sim.

Les façons de tuer les plus courantes dans Les Sims 4

Dans l'univers des Sims 4, le jeu n'hésite pas à aborder la réalité morbide de la mort de Sim. Ici, nous allons explorer les morts les plus courantes qui peuvent arriver à vos Sims. Préparez-vous à plonger dans les scénarios sombres et macabres et à savoir comment tuer un Sim dans les Sims 4. Mais attention, les choix que vous faites peuvent avoir des conséquences mortelles pour votre Sim bien-aimé et créer un nouveau challenge dans votre vi..

1. La mort par le feu Le décès par combustion dans Les Sims 4, connu sous le nom de tuer par le feu, présente un scénario périlleux pour les habitants virtuels du jeu. S'ils ne parviennent pas à éteindre un incendie ou à s'échapper, un brasier peut causer leur mort. La mort d'un Sim par le feu survient lorsque quelqu'un place des objets inflammables autour de lui et déclenche ensuite un incendie. Les Sims qui prennent feu finiront par périr s'ils ne sont pas éteints à temps. Quelques éléments à prendre en compte : - Le feu peut provenir de différentes sources telles que des appareils défectueux ou des cuisinières laissées sans surveillance. - Lorsqu'un incendie se déclare, les Sims doivent réagir rapidement pour l'éteindre en utilisant un extincteur ou en appelant les pompiers. - Si les flammes ne sont pas maîtrisées rapidement, la tuer par le feu peut être une issue tragique. 2. Mort par noyade La tuer par noyade dans les Sims 4 se produit lorsque l'énergie de nage d'un Sim s'épuise alors qu'il est dans l'eau, ce qui l'empêche d'atteindre la surface et entraîne finalement sa mort. Cette forme de mort est causée par un manque d'absorption d'oxygène, ce qui peut être fatal pour les Sims qui ne peuvent pas nager ou se mettre à l'abri à temps. Par exemple, un Sim peut également se noyer s'il tente de réparer un équipement de piscine défectueux alors qu'il est immergé dans l'eau ou s'il entre dans une zone de piscine fermée sans moyen de s'échapper. Pour éviter la mort par noyade dans les Sims 4, les joueurs peuvent prendre plusieurs précautions : - Ils doivent s'assurer que leurs Sims ont un niveau d'énergie suffisamment élevé avant de s'engager dans des activités liées à l'eau. En surveillant régulièrement les besoins de leurs Sims et en s'en occupant rapidement, ils peuvent éviter l'épuisement et les accidents de noyade potentiels. - De plus, s'assurer que les piscines ont des points d'entrée et de sortie accessibles permettra aux Sims de sortir facilement de l'eau en cas de besoin. L'installation d'échelles ou d'escaliers à proximité de la piscine permet aux Sims fatigués ou coincés de s'échapper rapidement. En étant attentifs aux besoins de leurs Sims et en prenant les précautions nécessaires, les joueurs peuvent éviter la mort par noyade et assurer la sécurité et le bien-être de leurs personnages virtuels dans le jeu Les Sims 4. 3. Mort par électrocution L'électrocution, l'un des décès les plus courants dans les Sims 4, se produit lorsqu'un Sim est mortellement choqué par l'électricité. C'est une façon dangereuse pour les Sims de trouver la tuer. Lorsqu'un Sim interagit avec des objets électroniques qui fonctionnent mal ou qui sont endommagés, il y a un risque d'électrocution. Pour éviter la mort par électrocution, il est important de veiller à ce que les objets électriques soient correctement entretenus et réparés régulièrement. Les Sims doivent éviter d'utiliser des appareils électroniques qui présentent des signes d'endommagement ou de dysfonctionnement. En outre, l'installation de détecteurs de fumée peut aider à détecter tout incendie électrique potentiel et donner au Sim un avertissement avant qu'il ne dégénère en électrocution. Dans de rares cas, la mort par électrocution peut survenir même si les Sims prennent des précautions. Cela peut se produire en cas de panne de courant ou si l'objet électrique lui-même est défectueux. Dans ce cas, il est conseillé de faire appel à un service de réparation professionnel dans le jeu pour résoudre le problème rapidement et éviter d'autres accidents. 4. Mort par chute de hauteur La chute de hauteur est un événement mortel dans les Sims 4, entraînant la tuer un sims concerné. Cette forme spécifique de décès survient lorsqu'un Sim perd l'équilibre ou saute intentionnellement d'une structure élevée, entraînant des blessures mortelles au moment de l'impact. Les conséquences de la mort par chute de hauteur peuvent être dévastatrices pour le joueur et les connaissances virtuelles du Sim. 5. Mort par congélation Dans le monde des Sims 4, mourir de froid n'est pas une mort ordinaire. Lorsque la température baisse, les Sims se retrouvent à grelotter de manière incontrôlée, leur souffle étant visible dans l'air glacial. Ils cherchent désespérément à se réchauffer, mais ne parviennent pas à échapper au froid. Lentement mais sûrement, leur vie s'éloigne au fur et à mesure que leur corps s'affaiblit.

Façons inhabituelles de tuer dans les Sims 4

Vous n'en reviendrez pas des façons peu communes dont votre Sim peut mourir. De la tuer par les coléoptères à l'invasion des mouches, le jeu offre à votre Sim une variété de façons uniques et inattendues de mourir. Préparez-vous à découvrir les morts étranges et parfois hilarantes qui attendent vos Sims dans le monde virtuel.

6. La mort par les coléoptères Dans Les Sims 4, les Sims peuvent trouver la tuer par un moyen unique connu sous le nom de "Mort par les scarabées". Ces coléoptères ont une nature mystérieuse et mortelle, ce qui entraîne un destin tragique pour ceux qui en sont victimes. La mort par scarabée présente un aspect intrigant d'imprévisibilité dans le jeu. Les Sims peuvent être en train de vaquer à leurs occupations lorsque soudain, ils se retrouvent entourés d'un essaim incontrôlable de coléoptères. Ces insectes attaquent sans relâche le sim, entraînant sa mort prématurée. L'essaim de scarabées ajoute un niveau d'excitation et de danger au jeu, gardant les joueurs sur le qui-vive alors qu'ils s'efforcent de protéger leurs sims de cette menace. Comme d'autres formes de décès dans les Sims 4, la mort par les scarabées rappelle que même les vies virtuelles sont fragiles et sujettes à des fins inattendues. 7. Mort par écrasement par un lit Murphy Dans les Sims 4, un Sim peut connaître une tuer inattendue en étant écrasé par un lit Murphy. Cette façon unique et peu commune de mourir ajoute de la diversité à l'éventail des décès possibles dans le jeu. L'imprévisibilité de cette mort spécifique introduit un élément de surprise et incite les joueurs à être prudents lorsqu'ils interagissent avec les lits Murphy. Le fait d'être écrasé par un lit Murphy offre une expérience distincte aux joueurs qui cherchent à sortir de l'ordinaire. Pour assurer la sécurité et le bien-être de vos Sims, il est conseillé de prendre des précautions lors de l'utilisation ou de l'interaction avec les lits Murphy. Portez une attention particulière à l'état et à la stabilité des lits, car le fait de négliger des défauts mineurs peut avoir des conséquences désastreuses sur la vie de votre Sim. En étant attentif à ces dangers potentiels, vous pouvez éviter la possibilité terrifiante que des Sims trouvent la mort sous le poids d'un lit Murphy défectueux. 8. La mort par les plants de vaches La mort par la plante de vache est l'une des façons les plus rares et les plus mémorables pour les Sims de trouver la mort dans Les Sims 4. La vachère, une plante carnivore à l'apparence trompeuse, utilise sa langue en forme de gâteau pour attirer les Sims qui ne se doutent de rien. Lorsqu'un Sim prend une bouchée, il est rapidement englouti et consommé d'un seul coup. C'est un destin étrange et inquiétant qui ajoute un élément de surprise et d'horreur au jeu. 9. Mort par embarras La mort par embarras est une forme de tuer en Sims 4 unique et non conventionnelle qui survient lorsqu'un Sim subit une humiliation et une honte si accablantes qu'elles entraînent sa mort prématurée. Lorsqu'un Sim est extrêmement embarrassé, son état émotionnel se détériore rapidement et il est submergé par des sentiments de mortification. Cette gêne intense peut être déclenchée par divers événements, comme le fait d'être rejeté publiquement ou humilié devant d'autres personnes. Au fur et à mesure que l'humiliation du Sim s'intensifie, elle peut avoir de graves conséquences sur sa santé physique, jusqu'à le conduire à la mort. 10. Mort par les fleurs En plus des décès courants rencontrés dans les Sims 4, il existe des détails uniques concernant les décès provoqués par les fleurs. Il est essentiel que les joueurs soient conscients des dangers potentiels posés par les différentes fleurs et le feuillage. Historiquement, on raconte que pendant le développement des Sims, l'idée de la mort par les fleurs a été inspirée par des cas réels où des personnes ont eu des réactions indésirables ou des allergies aux fleurs, ce qui a entraîné des conséquences fatales. 11. Mort par un poulet tueur Les poulets tueurs des Sims 4 sont dangereux car ils attaquent mortellement les Sims qui ne se doutent de rien. Voici ce que vous devez savoir sur le danger d'une rencontre avec un poulet tueur : - Assaut imprévisible : Un poulet tueur peut attaquer soudainement tout Sim se trouvant à proximité, lui infligeant des blessures mortelles. - Picage impitoyable : Une fois provoquée, la poule tueuse picore sans relâche sa cible jusqu'à ce qu'elle succombe à ses blessures. - Talons mortels : Les serres acérées de la poule tueuse peuvent causer de graves dommages, entraînant la mort rapide du malheureux Sim. - Comportement sanguinaire : Ces adversaires aviaires font preuve d'une nature agressive et sanguinaire lorsqu'ils sont provoqués, ce qui en fait des adversaires redoutables. - Propagation virale : Les récits viraux de décès par poulet tueur ont rendu cette forme de simicide à la fois redoutée et vénérée au sein de la communauté des Sims. - Une vigilance de tous les instants : Pour éviter d'être tué par un poulet tueur, les Sims doivent faire preuve de prudence et être prêts à se défendre ou à fuir à tout moment. En plus du danger potentiel qui attend les Sims confrontés à un poulet tueur, ces détails uniques jettent la lumière sur cette cause de décès non conventionnelle. 12. Mort par un lapin tueur Dans le monde sinistre et imprévisible des Sims 4, il existe une mort de Sims connue sous le nom de "Rencontre fatale avec un lapin tueur". Cet événement horrible voit des Sims sans méfiance mourir prématurément aux mains d'un lapin cruel. Le lapin tueur se caractérise par ses intentions malveillantes et ses attaques vicieuses sur des Sims qui ne se doutent de rien. Une fois provoquées, elles poursuivent sans relâche leurs proies, leur infligeant des blessures mortelles avec leurs dents et leurs griffes acérées. Malgré leur apparence innocente, ces lapins possèdent une agilité et une force étonnantes qui leur permettent de dominer même les Sims les plus résistants. La mort par lapin tueur est un événement rare dans le jeu, ce qui ajoute un élément de surprise et de danger aux expériences de jeu des joueurs. Les joueurs doivent faire preuve de prudence lorsqu'ils rencontrent des lapins dans les Sims 4, car une mauvaise manœuvre peut sonner le glas de leurs avatars virtuels. Il est intéressant de noter que la mort par le lapin tueur est devenue l'une des façons les plus tristement célèbres de mourir dans les Sims 4. 13. La mort par le rire Le rire peut être tuer en Sims 4. Les Sims peuvent mourir de l'amusement excessif provoqué par certains événements ou interactions. Cette forme de mort unique ajoute une touche d'humour au jeu et offre aux joueurs des défis inattendus. Lorsqu'un Sim meurt de rire, ce n'est pas à cause de l'effet comique typique. Au contraire, les Sims peuvent se retrouver dans des crises de rire incontrôlables qui deviennent fatales. Ces crises de rire mortelles résultent souvent de situations humoristiques ou d'interactions sociales qui tournent mal. De plus, la fonction de mort par le rire dans les Sims 4 met en évidence la nature imprévisible du jeu. Elle nous rappelle que même des activités inoffensives peuvent avoir des conséquences néfastes pour nos personnages virtuels. Les joueurs doivent être prudents et attentifs aux émotions de leurs Sims pour éviter ces incidents fatals. 14. La mort par la foudre L'électrocution par la foudre des nuages pluvieux est un phénomène rare mais tuer en Sims 4. Lorsqu'un Sim est frappé par la foudre, ses chances de survie diminuent considérablement. La force électrisante peut provoquer une mort immédiate et laisser les autres Sims dans le deuil. Les détails uniques concernant la mort par électrocution n'ont pas été abordés précédemment. Il est important de noter que l'obtention de cette forme de mort implique certains facteurs imprévisibles, tels que des orages violents et le fait d'être à l'extérieur pendant un orage électrique. 15. La mort par vieillesse Au fur et à mesure que les Sims vieillissent, leurs capacités physiques diminuent et ils deviennent plus sujets aux maladies et à la fragilité. Ils peuvent présenter des symptômes tels que des rides, des cheveux gris et une mobilité réduite. Le processus de vieillissement peut également affecter leur bien-être mental, avec des pertes de mémoire et un déclin cognitif comme conséquences potentielles. Cependant, il est important de noter que contrairement à d'autres causes de décès dans les Sims 4, la mort par vieillesse ne peut pas être évitée ou inversée. Elle fait partie intégrante des mécanismes du jeu et rappelle la nature éphémère de la vie. Comprendre et accepter la mort par vieillesse dans les Sims 4 et dans la vie réelle peut être l'occasion de réfléchir à la beauté des moments fugaces de la vie et à l'importance de chérir nos proches tant qu'ils sont encore parmi nous. 16. Mort par surmenage Le surmenage dans les Sims 4 désigne le fait de pousser un Sim au-delà de ses limites physiques, ce qui entraîne sa mort. Cela peut se produire lorsqu'un Sim s'engage dans des activités intenses sans prendre soin de ses besoins ou lorsqu'il effectue des actions qui drainent rapidement son énergie. Les Sims peuvent connaître une fin tragique en participant à des activités physiquement exigeantes telles que des séances d'entraînement intenses à la salle de sport, la course à pied ou le jogging sur de longues distances, ou en nettoyant vigoureusement la maison pendant une période prolongée. Le surmenage pousse les niveaux d'énergie du Sim à des niveaux dangereusement bas, ce qui lui donne une sensation de fatigue et d'épuisement. Cet épuisement de l'énergie peut entraîner la mort du Sim. Avant de mourir de surmenage, les Sims peuvent présenter des signes tels qu'une respiration haletante, une transpiration excessive, des mouvements trébuchants et une apparence générale de fatigue. Pour éviter la mort par surmenage, les joueurs doivent s'assurer que leurs Sims bénéficient d'un repos et d'une alimentation adéquats pour reconstituer leur niveau d'énergie. Il est également recommandé de faire des pauses régulières pendant les activités physiques intenses pour éviter l'épuisement. 17. Mort par surchauffe Dans les Sims 4, les Sims peuvent mourir de surchauffe. Cet événement périlleux survient lorsque la température corporelle d'un Sim atteint un niveau dangereux, ce qui a des conséquences fatales. Lorsqu'un Sim meurt de surchauffe, l'incapacité de son corps à réguler sa température provoque de graves dommages et conduit finalement à sa mort. Bien que cette façon de mourir puisse sembler inhabituelle pour un Sim, elle ajoute un élément de réalisme et d'imprévisibilité au jeu. Contrairement à d'autres décès courants tels que l'incendie ou la noyade, la mort par surchauffe représente un défi unique pour les joueurs. Elle nécessite une gestion minutieuse des activités et de l'environnement d'un Sim pour éviter qu'il ne succombe à une chaleur extrême. Pour éviter la mort par surchauffe, les joueurs doivent prendre plusieurs précautions : - Il est essentiel de maintenir une température intérieure confortable. Placer des climatiseurs ou des ventilateurs dans l'espace de vie du Sim permet de réguler l'environnement et de maintenir la température corporelle stable. - En outre, il est essentiel d'éviter les activités physiques intenses lorsqu'il fait excessivement chaud. Les Sims doivent s'abstenir de faire de l'exercice ou de participer à des activités extérieures pendant les pics de température afin de minimiser le risque de surchauffe. - Une tenue vestimentaire appropriée peut également contribuer à prévenir la mort par surchauffe. Habiller les Sims avec des vêtements légers fabriqués à partir de matériaux respirants permet une meilleure circulation de l'air et aide à maintenir une température corporelle équilibrée. Read the full article

[iletaitunefoislessims]

Ezio Vargas : Perte tragique

Charlie putain ! Je te laisse 5min toute seule et tu oublies de te couvrir !

[sushis4kalyo]

Du coup, mes réponses ! ⌨️

Mon pseudo "sushis4kalyo" veut dire "Des sushis pour Kalyo" ... parce que j'adore ça !

Je suis quelque part dans le sud de la France, dans l'Hérault.

J'ai eu plusieurs comptes Tumblr mais je partais toujours au bout de quelques mois parce qu'il n'y avait pas beaucoup de francophones (ou vous étiez bien cachés !) Du coup, je dois avoir au moins 2 ans d'expérience Tumblr cumulée.

Mes passions, je dessine, je commence l'aquarelle, je joue aux jeux vidéos, j'aime lire, j'aime le cinéma, je joue un peu du kalimba. Je commence à cuisiner ... je fais plein de trucs !

J'écoute un peu de tout. Ça dépend surtout de ce que je fais. Team Lofi et Jazz pour bosser ... sinon ça va des chansons Disney au hard rock !

LA série qui écrase toutes les autres jusqu'à maintenant, pour moi, c'est Game of Thrones.

Niveau livre, il me reste des tomes à lire mais j'apprécie vraiment Le Cycle des Robots d'Asimov.

J'ai un chat : mademoiselle Peluche !

Mon plat préféré ... les sushis ! Vous ne l'auriez jamais deviné n'est-ce pas ?

Mon dessert préféré ... hmmm ... j'aime beaucoup les pâtisseries à la crème. Éclair au chocolat ou au café, tropézienne ...

Côté boisson, j'aime bien les cocktails avec du curaçao juste parce que c'est bleu ! Sinon, j'adore le jus de litchis !

Alors, sur PC, je joue aux Sims 4. On m'a offert Cyberpunk 2077 qu'il faudrait que je commence. Je joue à Guild Wars 2, Minecraft occasionnellement ... et sur Switch c'est principalement Disney Dreamlight Valley, Mario Kart et Stardew Valley. J'ai finis par lâcher Animal Crossing New Horizons faute de nouveau contenu ...

Mes Disney préférés sont Atlantide, La Planête au Trésor, Lilo et Stitch et La Reine des Neiges.

L'odeur du monoï sans hésiter !

... une ... ou deux ... j'ai vraiment perdu en anglais. J'ai totalement décroché en espagnol ... sinon je parle Yaourt. Vous savez ce truc qu'on parle quand on essaie de chanter la macarena par exemple ? ... Comment ça ça compte pas ?!

Team violet !

J'aimerais bien améliorer mon anglais et apprendre à coder en PHP et javascript.

J'aimerais bien visiter le Japon, le Canada, l'Egypte et la Finlande.

Totally Spies, Martin Mystère, Galactic Football et Code Lyoko !

Courgette !

20 questions pour passer le temps ! ❔️

J'aime bien les threads de questions sur Twitter car ça aide à trouver un sujet de conversation avec quelqu'un et ça permet aussi de passer le temps. Voici donc une petite liste de 20 questions auxquelles tout le monde peut répondre par commentaire ou par reblog :

Quelle est la signification de ton pseudo ?

Sans forcément donner l'endroit exact, d'où viens-tu ?

Depuis combien de temps es-tu sur Tumblr ?

Quelles sont tes passions ?

Quel est ton style de musique ?

Quel film ou quelle série TV as-tu adoré ?

Quel livre as-tu adoré ?

Tu as des animaux de compagnie ?

Quel est ton plat préféré ?

Quel est ton dessert préféré ?

Quelle est ta boisson préférée ?

Joues-tu aux jeux vidéos ? (Si oui à quoi ?)

Quels sont tes Disney préférés ?

Y'a t'il une odeur que tu adores

Combien de langue parles-tu ?

La couleur que tu préfères ?

Y a t'il une chose où tu aimerais t'améliorer ?

Quels sont les pays que tu aimerais visiter ?

Quels sont selon toi les meilleurs dessins animés ?

Un petit mot pour la fin ?

[goalhofer]

2020 Olympics South Korea Roster

Archery

Je-Deok Kim (Gyeongbuk)

Woojin Kim (Iwon)

Jin-Hyek Oh (Incheon)

San Ahn (Pyeongchang)

Min-Hee Jang (Seoul)

Chae-Young Kang (Gwangju)

Athletics

Wilson Erupe (Lodwar, Kenya)

Jong-Seop Sim (Seoul)

Byeong-Gwang Choi (Hwaseong)

Sang-Hyeok Woo (Seoul)

Min-Sub Jin (Busan)

Seulgi An (Seoul)

Kyung-Sun Choi (Seoul)

Badminton

Kwang-Hee Heo (Seoul)

Sol-Gyu Choi (Seoul)

Seung-Jae Seo (Buan)

Se-Young An (Gwangju)

Ga-Eun Kim (Gyeonggi-Do)

So-Yeong Kim (Incheon)

Hee-Yong Kong (Jincheon)

So-Hee Lee (Ulsan)

Seung-Chan Shin (Gochang-Gun)

Yoo-Jung Chae (Suwon)

Baseball

Won-Joon Choi (Seoul)

Woo-Suk Ko (Ganghwa-Gun)

Min-Woo Kim (Seoul)

Eui-Lee Lee (Gwangju)

Tae-In Won (Daegu)

Woo-Chan Cha (Gunsan)

Sang-Woo Cho (Uijeongbu)

Seung-Hwan Oh (Jeongeup)

Young-Pyo Ko (Gwangju)

Se-Woong Park (Daegu)

Jin-Uk Kim (Suwon)

Min-Ho Kang (Pohang)

Eui-Ji Yang (Gwangju)

Joo-Hwan Choi (Gwangju)

Kyoung-Min Hur (Gwangju)

Jae-Gyun Hwang (Seoul)

Baek-Ho Kang (Incheon)

Hye-Seong Kim (Seoul)

Jae-Il Oh (Guri)

Ji-Hwan Oh (Gunsan)

Hyun-Soo Kim (Seoul)

Jung-Hoo Lee (Gwangju)

Hae-Min Park (Seoul)

Kun-Woo Park (Seoul)

Basketball

Ji-Hyeon Sin (Seoul)

Lee-Seul Kang (Sacheon)

Ye-Bin Yoon (Boryeong)

Hye-Ji Ahn (Busan)

Hye-Jin Park (Busan)

Ji-Hyun Park (Seongnam)

Dan-Bi Kim (Bupyeong-Gu)

Hye-Yoon Bae (Seoul)

Jung-Eun Kim (Cheonan)

Min-Jeong Kim (Seoul)

Ji-Su Park (Seongnam)

Han-Byul Kim (Sacheon)

Boxing

Aeji Im (Hwasun-Gun)

Yeon-Ji Oh (Incheon)

Cycling

Ah-Reum Na (Naju)

Hye-Jin Lee (Geonggi)

Diving

Yeong-Nam Kim (Seoul)

Yeong-Taek Kim (Seoul)

Ha-Ram Woo (Busan)

Halim Kwon (Seoul)

Su-Ji Kim (Seoul)

Equestrian

Dong-Seon Kim (Seoul)

Fencing

Young-Jim Kweon (Iksan)

Segeon Ma (Seoul)

Sang-Young Park (Jinju)

Kwanghyun Lee (Seoul)

Bon-Gil Gu (Daegu)

Jung-Hwan Kim (Seoul)

Sang-Uk Oh (Daejeon)

Se-Ra Song (Seoul)

In-Jeong Choi (Geumsan)

Young-Mi Ko (Gwangju)

Hee-Sook Jeon (Seoul)

Soo-Yeon Choi (Ansan)

Ji-Yeon Kim (Busan)

Ji-Su Yoon (Busan)

Soccer

Bum-Keun Song (Seongnam)

You-Hyeon Lee (Gwangyang)

Jae-Woo Kim (Seoul)

Ji-Soo Park (Myungyeong)

Tae-Wook Jeong (Jeju)

Seung-Won Jeong (Jeonju)

Chang-Hoon Kwan (Seoul)

Kang-In Lee (Incheon)

Min-Kyu Song (Chungju)

Dong-Gyeong Lee (Seoul)

Dong-Jun Lee (Busan)

Young-Woo Seol (Ulsan)

Jin-Ya Kim (Daegun)

Dong-Hyun Kim (Seoul)

Du-Jae Won (Seoul)

Ui-Jo Hwang (Seongnam)

Won-Sang Um (Gwangju)

Joon-Soo Ahn (Uijeongbu)

Yoon-Sung Kang (Daegu)

Sang-Min Lee (Busan)

Changi An (Seoul)

Jin-Kyu Kim (Pohang)

Golf

Sung-Jae Im (Jeju Seom)

Si-Woo Kim (Seoul)

Jin-Young Ko (Seoul)

Park Inbee (Seoul)

Sei-Young Kim (Seoul)

Hyo-Joo Kim (Seoul)

Gymnastics

Jun-Ho Lee (Seoul)

Han-Sol Kim (Seoul)

Sung-Hyun Ryu (Seoul)

Hak-Seon Yang (Gwangju)

Jae-Hwan Shin (Jecheon)

Yun-Seo Lee (Seoul)

Seo-Jeong Yeo (Yongin-Si)

Handball

Yu-Ra Yung (Seoul)

Jun-Hui Jeong (Tongyeong)

Yun-Ji Kim (Seoul)

Kyun-Ming Kang (Seoul)

Hui Ju (Seoul)

Seon-Pil Won (Jeongseon)

Eun-Hee Ryu (Incheon)

Su-Min Choi (Seoul)

Hae-In Sim (Seoul)

Eun-Hye Kang (Seoul)

Ha-Rang Jo (Gwangju)

Mi-Gyeong Lee (Seoul)

Jin-Yi Kim (Taebaek)

Ji-In Jung (Busan)

Karate

Heejun Park (Busan)

Judo

Won-Jin Kim (Seoul)

Baul An (Anyang)

Shōrin An (Seoul)

Dong-Han Gwak (Pohang)

Gu-Ham Jo (Gangwon)

Min-Jong Kim (Seoul)

Yu-Jeong Kang (Yeosu)

Da-Sol Park (Seoul)

Ji-Su Kim (Seoul)

Hee-Ju Han (Seoul)

Seong-Yeon Kim (Gwangju)

Hyun-Ji Yoon (Seoul)

Mi-Jin Han (Seoul)

Pentathlon

Ung-Tae Jeon (Seoul)

Jin-Hwa Jun (Ulsan)

Se-Hee Kim (Seoul)

Sun-Woo Kim (Gyeonggi)

Rowing

Hye-Jung Jung (Seoul)

Rugby

Chang Yong (Seoul)

Jeong-Min Jang (Seoul)

Yon-Sik Jeong (Incheon)

Hyun Kim (Seoul)

Kun-Kyu Han (Seoul)

Nam Kim (Seoul)

Seong Lee (Seoul)

Won Park (Seoul)

Jin Lee (Seoul)

Andre Coquillard (Seoul)

Seong-Min Jang (Seoul)

Seong Choi (Seoul)

Gwong-Min Kim (Seoul)

Shooting

Dae-Yoon Han (Seoul)

Mo-Se Kim (Seoul)

Sang-Do Kim (Seoul)

Jong-Jun Lee (Seoul)

Jong-Oh Jin (Chuncheon)

Tae-Yun Nam (Seoul)

Jong-Ho Song (Seoul)

Eun-Young Cho (Seoul)

Ga-Eun Choo (Seoul)

Eun-Ji Kwon (Seoul)

Hee-Moon Park (Seoul)

Bo-Mi Kim (Seoul)

Min-Ji Kim (Ansan)

Min-Jung Kim (Seoul)

Climbing

Jongwon Chon (Seoul)

Chae-Hyun Seo (Seoul)

Swimming

Sungjae Cho (Seoul)

Seungwoo Moon (Seoul)

Yoo-Yeon Lee (Seoul)

Woo-Min Kim (Seoul)

Sun-Woo Hwang (Suwon)

Ju-Ho Lee (Asan)

Ho-Joon Lee (Gwangju)

Eunji Lee (Seoul)

Hyun-Young Jung (Seoul)

Da-Kyung Han (Gwangju)

Seo-Yeong Kim (Gyeonggi-Do)

Se-Hyeon An (Seoul)

Table Tennis

Woo-Jin Jang (Daejeon)

Young-Sik Jeoung (Seoul)

Sangsu Lee (Busan)

Ji-Hui Jeon (Seoul)

Yubin Shin (Seoul)

Hyo-Ju Choi (Busan)

Taekwondo

Jun Jang (Seoul)

Dae-Hoon Lee (Seoul)

Kyo-Don In (Incheon)

Jae-Young Sim (Seoul)

Ah-Reum Lee (Seoul)

Da-Bin Lee (Incheon)

Tennis

Soon-Woo Kwon (Sangju)

Volleyball

Eun-Jin Park (Seoul)

So-Young Lee (Asan)

Hye-Seon Yeom (Mokpo)

Hui-Jin Kim (Busan)

Hye-Jin An (Seoul)

Ji-Young Oh (Daegu)

Yeon-Gyeong Kim (Ansan)

Su-Ji Kim (Ansan)

Jeong-Ah Park (Seoul)

Hyo-Jin Yang (Busan)

Ji-Yun Jeong (Seoul)

Seung-Ju Pyo (Ulsan)

Weightlifting

Meong-Mok Han (Changwon)

Dong-Ju Yu (Jinan-Gun)

Yun-Seong Jin (Goyang)

Eunji Ham (Wonju)

Seon-Mi Lee (Gyeongsan)

Su-Hyeon Kim (Seoul)

Yeoun-Hee Kang (Seoul)

Wrestling

Han-Su Ryu (Busan)

Min-Seok Kim (Busan)

[cosmosbeelover]

Photo collection of kisaeng's - Part 5

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

There names go from top left to bottom right.

English - Gisaeng List - Hong Do-hwa, unknown, Jeong Geum-hwa, Jeong Yu-wol, Jo Jin-sil, Jo Ranpa, Cha Jun-pi, Cha Jeong-sook Korean - 기생명부 - 홍도화, 미상, 정금화, 정유월, 조진실, 조란파, 차준피, 차정숙

English - Gisaeng List - Gyu Ran-ok, Lim Yang-chun, Jang Yeon-hong, Baek Dal-hong, Shim Yu-wol, Oh Byeok-ok, Jin Yeon-hwa, Seok Sun-bok Korean - 기생명부 - 규란옥, 임양춘, 장연홍, 백달홍, 심유월, 오벽옥, 진연화, 석순복

English - Gisaeng List - Yoo Geum-ja, Noh Jin-ju, Noh Juksim, Noh Eun-hong, Jeon Myeong-ok, Wi Geum-ok, Wang Su-bok, Jo Jeom-hwa Korean - 기생명부 - 유금자, 노진주, 노죽심, 노은홍, 전명옥, 위금옥, 왕수복, 조금화

English - Gisaeng List - Hwang Geum-hwa, Lee Chun-sim, Moon Chae-woon, Ma Hyang-ran, Jeon Yong-ju, Byeon Il-seon, Byeon Ok-jo, Sogan 1st floor Korean - 기생명부 - 황금화, 이춘심, 문채운, 마향란, 전용주, 변일선, 변옥조, 소간일층

[papaya2000s]

Photo collection of kisaeng's - Part 3

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

There names go from top left to bottom right.

English - Kisaeng List - Lee Hyang-chun, Lee Soon-deok, Lee Young-sim, Lee Yeon-hong, Lee Chae-wol, Lee Iran-do, Lee Do-hwa, Lee Oh-ok Korean - 기생명부 - 이향춘, 이순덕, 이영심, 이연홍, 이채월, 이란도, 이도화, 이오옥

English - Kisaeng List - Han Jin-hong, Han Jin-oh, Han Byeok-jo, Han Pum-ok, Han Jeong-suk, Han Chun-hong, Han So-jo, Han Yeon-seon

Korean - 기생명부 - 한진홍, 한진오, 한벽조, 한품옥, 한정숙,한춘홍, 한소조, 한연선

English - Kisaeng List - Choi Chun-hwa, Choi Myeong-sim, Choi Geum-seon, Choi Ran-ju, Choi Woon-seon, Choi Hye-seok, Choi Seon-ok, Choi Gyeong-jeong

Korean - 기생명부 - 최춘화, 최명심, 최금선, 최란주, 최운선, 최혜석, 최선옥, 최경층

English - Kisaeng List - Park Myeong-ok, Park Ok-seon, Choi Yu-hong, Choi Chun-hong, Park Yu-hong, Park Il-ki-hong, Park Chun-hong, Park Yeon-hee

Korean - 기생명부 - 박명옥, 박옥선, 최유홍, 최춘홍, 박유홍, 박일기홍, 박춘홍, 박연희

[leeleesims1]

Hey I love your CC! I jus wanted to ask abt your computer specs/what computer you have bc my pc is literally bout to explode and I want to play IL w a faster computer. Thanks!

Thank you!  Here’s a picture of what Windows says my laptop has(hopefully you can read it ok!):

It’s 3 years old MSI laptop and it’s still doing pretty good (for $1500 it better be, daggone it)  I run the Sims on the highest settings and have over 7gb of CC and it can handle it.

Hope this helps!

[bouffar3000]

Les Aventuriers de la Pizza aux 22 Fromages

Vous avez déjà pu, en lisant les lignes de ce blog, croiser le facétieux Vibescu, jamais à l'abri d'une expérimentation culinaire sans vergogne. Un beau jour, il me partagea innocemment une capture d'écran de son jeu vidéo du moment, Les Sims - Les Urbz, où l'on peut posséder dans son inventaire une mystérieuse pizza 12 fromages.

Notre enthousiasme piqué par une telle surenchère nous amena bien vite à établir une liste des fromages à acheter pour égaler cet exploit, et bien vite le dépasser. Les possibilités étaient infinies, les combinaisons sans fin. Remplacer la sauce tomate par une base de Boursin permettait d'ajouter un "fromage" à la liste, la croûte pouvait être fourrée à la mimolette, le morbier copuler avec le cheddar. Telle la rencontre de grands esprits dans un café parisien scellant la naissance d'un nouveau mouvement artistique ou philosophique, notre discussion alcoolisée inscrivait dans le cosmos un funeste destin placé sous le signe du gras et du lait fermenté. Il fut donc décidé de viser le céleste nombre de vingt-deux.

Attrapez-les tous !

Une fois le rendez-vous pris et les ingrédients achetés, il était temps de passer les troupes en revue. Les festivités se dérouleraient en la demeure d'Aur'aile de poulet, comparse de Vibescu adepte de la mimolette, des chips au Comté et du gratin d'oignons. Ses fidèles seraient également présents : ledit Vibescu bien entendu, mais aussi Raclémence, et le mystérieux Jer'aime le gras, qui se proposait de faire la pâte lui-même, là où moi et Vibescu aurions sûrement recouvert une Fraîch'up 4 fromages de fromages supplémentaires. D'autres bouffars avaient été invités, mais seul Frédériche en beurre répondit à l'appel, le pauvre bougre ne pouvant se permettre de louper une bouffe végétarienne, pour une fois. Quant au célèbre Rock de Kebab Passion 72, il nous fit faux bond, que son infamie soit conspuée à jamais.

Une préparation mentale de fer et un cadre idyllique.

Il apparut rapidement que la sympathique idée "pour faire terroir" de Jer'aime le gras n'était qu'un vil traquenard : moi-même et Raclémence furent forcés à pétrir la pâte dans la douleur et le servage le plus pur et simple, tandis que Vibescu et Aur'aile de poulet sifflaient toutes les bières en nous déconcentrant. Malgré tout, après un dur labeur, la pâte était prête et en quantité suffisante pour nourrir une famille napolitaine entière.

Enfin, le temps était venu de garnir la première pizza : sur une base de Boursin tombèrent une pluie de morceaux de cheddar, morbier, mimolette, comté, camembert, emmental, etorki, pendant que Vibescu plaçait malicieusement des morceaux de Babybel et des Vache qui rit intactes. Score finale : douze fromages, ce qui était d’ailleurs le nombre originel dans Les Urbz. Loin des vingt-deux annoncés, mais tout de même pas de quoi jouer les marioles. Après un passage express au four, la pizza revint cuite à la perfection : la surface avait entièrement fondu et commencé à gratiner. Fébriles, nous étions tous émerveillés, nous sachant à l'orée d'un territoire inconnu. Je plongeai le premier. Je pense que ce jour-là, une partie de moi a quitté le monde terrestre et est montée au paradis. Les fromages avaient fondu ensemble à la perfection, semblaient s'être totalement mélangés pour ne créer qu'une saveur unique mais d'une richesse infinie, comme une sorte d'übermensch du fromage. L'équilibre était parfait, les fromages les plus forts ne prenaient pas le dessus, la texture était incroyablement croustillante sur le dessus et fondante à l'intérieur. Tout ça était évidemment magnifié par la pâte, elle-même magnifiée par notre souffrance. Juste assez épaisse pour soutenir tout le fromage, elle était elle aussi parfaitement tendre et croustillante.

La deuxième pizza fut l'occasion d'un changement de recette assez drastique : une base sauce tomate fut choisie, mais il fallut alors tout faire pour la recouvrir de fromage, tandis que le bord de la pâte fut fourré, je vous laisse deviner, au fromage. Le résultat fut loin d'être mauvais mais l'incommensurable équilibre de la première tentative ne fut pas préservé. Tout d'abord, la pizza était bien plus grasse et huileuse que la première. Le papier cuisson sous la pâte était sec alors que celui de la première était imbibé de gras. Pourquoi tout ce gras fondu était-il resté sur la pizza ? Ses rebords fourrés au fromage érigeaient-ils des murailles trop infranchissables ? La sauce tomate empêchait-elle le gras de traverser la pâte ? Vibescu avait-il eu la main trop lourde avec la raclette ? Mystère. Quoiqu'il en soit, l'alchimie n'avait pas aussi bien fonctionné : le morbier, la raclette, le gorgonzola, le bleu prenaient souvent le dessus sur les autres fromages, tout ne s'était pas parfaitement unifié en fondant. Bien sûr, cette déception n'était relative qu'à la perfection insolente de notre premier essai.

Après cette deuxième tentative, les troupes essuyèrent une considérable baisse de moral, que nous tentâmes de contrecarrer à l'aide de plusieurs substances plus ou moins illicites. Il fut alors décidé de tenter de répliquer l'exploit de la première pizza. Hélas, tous les fromages avaient été laissés ouverts à l'air libre dans la cuisine, et certains commençaient à tourner de l’œil. Essuyant une larme, Jer'aime le gras offrit une dernière demeure au gorgonzola, vidant la moitié du paquet sur la pizza. Cette action eut d'irrémédiables conséquences : elle fit exploser le caractère de la pizza, qui pour le reste s'approchait effectivement pas mal de la première. Mais pendant que Jer'aime le gras susurrait des mots doux à sa part, en esthète du gorgonzola, nous jetions nos dernières forces dans la bataille. Il faut dire que la combinaison hétéroclite de fromage du deuxième essai avait été particulièrement bourratif, et que comme personne ne m'avait laissé ajouter du Easy Cheese aux recettes, j'en étais réduit à finir les croûtes de mes comparses après les avoir badigeonnées du précieux fromage en spray. Bref, bien que notre constitution ne fut plus à même de nous laisser poursuivre le combat, cette troisième pizza confirmait tout de même les possibilités infinies de notre entreprise. Nous n’avions hélas plus tenu le compte des fromages pour chaque pizza, mais le dix-sept reste ancré dans ma mémoire, sans que je puisse dire s’il s’applique à la seconde ou à la troisième. L’objectif des vingt-deux ne fût donc pas atteint, mais l’original des douze, largement dépassé. Nous nous quittâmes avec de terribles maux de ventre en faisant le serment de nous retrouver prochainement pour finir les deux kilogrammes de pâte restants et la multitude de fromages déballés.

Le lendemain, alors que le crampes d'estomac m'empêchaient d'apprécier Apocalypse Now Final Cut à sa juste valeur au cinéma, le perfide Aur'aile de poulet m'envoyait de nouvelles photos obscènes prouvant que le rite impie se poursuivait dans son antre graisseux. Les légendes "La lutte continue", "Toujours plus de fromage" et "Seuls les cheesers les plus intrépides osent surfer sur pareils rouleaux" accompagnaient ses clichés scandaleux.

La perfidie d’Aur’aile de poulet sera un jour punie.

Le surlendemain, je me retrouvai une fois de plus chez le personnage dérangé, en compagnie de Vibescu ainsi que de son voisin du dessus, déjà rompu aux bouffes acrobatiques avec Aur'aile de poulet. Ledit voisin se trouvait en possession d'une livre de viande hachée qu'il fût convenu de disposer sur une nouvelle pizza (car il restait bien sûr encore de la pâte) afin de rompre l'enchantement fromager qui dictait nos vies depuis quelques jours. La pâte de lait fermenté fût tout de même ajoutée à la garniture, n'en doutez pas une seconde, mais elle se trouvait en proportions égales avec la viande ainsi qu'une pluie de champignons et d'oignons. Le résultat s'apparentait plus à des lasagnes qu'à une pizza, mais toujours avec cette pâte divine dont le secret nous avait été rapporté par l'énigmatique Jer'aime le gras de mystérieux temples orientaux.

Comment conclure une telle aventure humaine ? La confrérie des cheesers formée par un tel challenge lactosé restera à coup sûr solide par-delà nos tombes. Difficile d'en dire autant de nos artères.

Reconstitution vaguement authentique du pendouillage du bébé de Michael Jackson. MJ est incarné par Vibescu et le bébé par mon pot de fromage liquide Squeeze Cheese.

Avant de vous quitter, l’avis de Vibescu sur la soirée :

La première Pizza était un bonheur et une réussite totale. La quantité de fromage à été calculée au centimes de microgrammes près par pas moins de six   chercheurs de la NASA, ce qui a eu pour cause une pizza homogène au goût tellement fromager qu'il n'en devenait que plus doux à nos papilles qui n'en revenaient pas ! Les glandes salivaires tournaient à plein régime face à ce goût inconnu, incongru et diablement dionysiaque (et aphrodisiaque). Une larme de digestion coula le long de ma joue, lorsque la part fut engloutie... Je me caressais doucement le giron tout en rêvant de la pizza numéro 2.... Qui fut une énorme erreur ! Les chercheurs de la NASA étaient encore sous le choc de la première salve fromagère et ne put effectuer convenablement les calculs : le Morbier ainsi que la raclette formait à eux seuls un nouveau goût putride qui gâchait le reste de la pizza. Un mélange d’écœurement et de jus de chaussette toasté s'emparait de moi. Je l'ai terminé à contrecœur très lentement. Je n'ai point goûté à la troisième. Devons nous  y imputer à la pizza morbiesclette ou à mon estomac de liliput ? Peut être un peu des deux. Ou pas.

Rédigé par Jumbo

[rollingstonemag]

Un nouvel article a été publié sur https://www.rollingstone.fr/sous-loeil-de-terry/

Sous l'œil de Terry

Le photographe Terry O’Neill a immortalisé les plus grandes stars de la pop culture, et du rock en particulier. Il publie un livre d’images inédites.

Cette année, il a fêté ses 80 ans. Mais sa verve n’a pas faibli. En témoigne son enthousiasme lorsqu’on lui parle du Swinging London, auquel il a activement participé : “Il y avait ce club dans lequel nous avions l’habitude d’aller, le Ad Lib, à Leicester Square. Certains soirs, nous étions là, avec des Beatles ou des Stones, à nous demander ce qu’on allait bien pouvoir faire ensuite. Aucun d’entre nous ne pensait que tout ça allait durer ! Ringo pensait ouvrir un salon de coiffure, et je crois que George parlait de travailler dans une banque. Ce qui nous faisait le plus rire, c’était d’imaginer Mick sur scène à 40 ans. Et regardez-le maintenant !”

Les Beatles posant sous l’objectif de Terry O’Neill. © DR

Londonien pur jus, Terry O’Neill est d’abord tombé amoureux de la musique avant de se passionner pour l’image. Après des heures passées à écouter Lester Young, Zoot Sims ou Gerry Mulligan, il rêve d’être batteur de jazz. Pour y parvenir, il décide de voyager aux États-Unis, afin d’apprendre auprès des plus grands. Il postule pour être steward dans la British Overseas Airways Corporation, mais la compagnie lui propose à la place un job dans l’unité de la photographie technique. C’est la révélation. Terry devient photoreporter, œuvrant surtout dans les aéroports, jusqu’à ce que le magazine The Daily Sketch le repère : “J’étais très jeune à l’époque, au moins dix ans de moins que mes collègues. Le rédacteur en chef savait que j’aimais la musique et m’a convoqué un jour pour me demander d’aller à Abbey Road prendre quelques photos d’un groupe débutant. C’était les Beatles, qui enregistraient l’un de leurs premiers singles, ‘Please Please Me’. Un an plus tard, le monde était à leurs pieds.” Comme on peut le voir dans Rare and Unseen, les quatre garçons dans le vent sont souriants et visiblement confiants face à Terry, à peine plus âgé qu’eux.

Sophie Rosemont

*****

La suite à lire dans le n°111 de Rolling Stone, disponible en kiosque !

[papaya2000s]

Photo collection of kisaeng's - Part 2

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

There names go from top left to bottom right.

English - Kisaeng List - Kim Jin-sook, Kim Ok-sim, Kim Geum-seon, Kim Su-wol, Kim Nam-hong, Kim Gyeong-ju, Kim Ik-hong, Kim Chun-jo Korean - 기생명부 - 김진숙, 김옥심, 김금선, 김수월, 김남홍, 김경주, 김익홍, 김춘조

English - Kisaeng List - Lee Il-gi-hwa, Lee Dong-hwa, Lim Chun-hong, Kim Chun-hwa, Lee Wol-seon, Lee Hwa-seon, Lee So-hee, Lee Geum-hwa Korean - 기생명부 - 이일기화, 이동화, 임춘홍, 김춘화, 이월선, 이화선, 이소희, 이금화

English - Kisaeng List - Kim Wol-hyang, Lee Hyang-sim, Lee Song-wol, Lee Chae-seon, Lee Sook-deok, Lee Iran-su, Lee Seon-bok, Lee Iran-hyang Korean - 기생명부 - 김월향, 이향심, 이송월, 이채선, 이숙덕, 이란수, 이선복, 이란향

English - Kisaeng List - Lee Ok-ran, Lee Yong-ju, Lee Dan-gyu, Lee Jeong-suk, Lee Dam-hong, Lee Hee-sook, Lee Jang-young, Lee Ok-ryeon Korean - 기생명부 - 이옥란, 이용주, 이단규, 이정숙, 이담홍, 이희숙, 이장영, 이옥련