#yeo chang gu

[lovekillz]

TASK #001: ROOM KEY PICK-UP

DETAILS

DUE. ongoing, within 1 week of a muse's acceptance post

INSTRUCTIONS. in this post's reply section, please comment your muse's full name + a room number that you would like them to occupy (see below the cut for room numbers). if you have multiple muses, please leave their names and room numbers as well. these will be your muse's room assignments for the foreseeable future. if you end up needing to change rooms due to changing plots or other reasons, please reach out to the main.

NOTES

in character, muses simply choose one of the remaining room keys and would have no prior knowledge about who else is staying in nearby rooms, unless you plot that they coordinated rooms with another muse.

all rooms are single bed rooms and can only have one officially assigned occupant. rooms labeled "locked permanently" are unavailable and are canonically unable to be opened or entered. each pair of rooms share a connected bathroom (organized in pairs below), except for units next to the elevators, which have their own private but smaller bathroom. sheets & towels are changed by hotel staff every thursday/friday when the muse is not occupying their room, unless they hang the "DO NOT DISTURB" sign.

for more information about THE OVERLOOK hotel, the history behind JINHAE-GU, and nearby points of interest, please see our corresponding PLOT DROP and TRIP INFORMATION page.

FLOOR 2

(elevator) #201: chaiyo apinya @bassofhearts

#202:  #203: 

#204:  #205: (locked permanently)

#206:  #207: 

#208:  #209: 

#210:  #211: 

#212:  #213: 

#214: maeda kaori @lkzkaori #215: 

#216:  #217: 

#218:  #219:

#220: yeo dabin @r4bbitsrun (elevator)

FLOOR 3

#300:  (elevator)

#302:  #303: 

#304:  #305: 

#306:  #307: choi jisung @xromanticartcore

#308:  #309: 

#310:  #311: han hyejin @5eraphism

#312:  #313: 

#314: (locked permanently) #315: 

#316:  #317: 

#318:  #319:

(elevator) #321: 

FLOOR 4

(elevator) #401: 

#402: park heesung @murmurline #403: oh kiyong @1nfernoh

#404: (locked permanently) #405: (locked permanently)

#406:  #407: kuo leann @dourll

#408:  #409: 

#410:  #411: 

#412:  #413: 

#414:  #415: ikehata kana @vanishingtwins

#416:  #417: mikayla han @lvnderhaze

#418:  #419: 

#420: song jihoo @hymnosis #421: (locked permanently; presumably the other elevator on the floor?)

[blcoolstuff]

SEASON 1 FINISHED!

A drastic change from the last post LMFAOOOO but season 1 of TGMND has wrapped up and I really love it!

So Ji-gu realizes that Yeo-woon is neutaaaa in game but Yeo-woo still doesn't realize. I'm super excited and apparently, there's also gonna be a side couple!

[cosmosbeelover]

The History of Korean Female Soloists from the 20th Century: Episode 5/?

The fifth episode of 'The History of Korean Female Soloists from the 20th Century' examines prominent Korean musicians who gained recognition during the early 20th century, a period overshadowed by Japanese occupation. The historical documentation surrounding these artists is largely obscure, particularly concerning one specific singer, for whom only a solitary photograph exists. This lack of comprehensive records is largely due to the nearly one hundred years that have elapsed since their contributions, predating the Korean War, which led to the loss or unavailability of essential documentation. Consequently, the limited information available on this singer positions this episode as a (2nd) mini-sode within the larger series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight that this information is not accompanied by a photograph of the singer, and the sole link between the image and the information is their name, indicating that they may or may not be the same individual.

Kim Chae-woon (김채운)

Kim Chae-woon is referenced solely in the Gisaeng Photo Collection, which features numerous gisaengs, various buildings, and several images of students.

Kim Chae-woon (김채운), also known as Kim Sae-un (金彩雲) or alternatively spelled as Kim Chae-un, was a prominent vocalist specializing in folk music during the Joseon era, associated with the Gisaeng of Gwonbeon and Hanseong Gwonbeon (Also known as Joseon Kwonbeon). In the 1920s, she gained recognition through her performances on the Gyeongseong Broadcasting Station (경성방송국; 京城放送局), where she showcased various musical forms, including Gyeongseong Jwachang and Gyeongseong Japga. Between 1926 and 1932, she collaborated with fellow artists Han Seong-jun (한성준; 韓成俊) and Ji Yong-gu to perform a diverse repertoire that featured gayageum byeongchang, gayageum Sanjo, and numerous folk songs, such as "Gogocheonbyeon" (고고천변; 皐皐天邊) and "Baettaragi." Notably, her recordings of "Seodo Sokyo" (경기좌창; 京畿座唱) and "Kite-catching Girl," accompanied by orchestral arrangements, were released by the Japanese Victor record label. Additionally, she participated in the 2nd Paldo Myeongchang Competition (팔도명창대회; 八道名唱大會) alongside Kim So-hyang (김소향; 金小香), Kim Su-jeong (김수정; 金水晶), and Kim Yeo-ran (김여란; 金如蘭) from September 21 to 23, 1931, and continued to appear on Gyeongseong Broadcasting Station throughout the 1930s, where she performed gayageum sanjo on multiple occasions.

Gogocheonbyeon (고고천변; 皐皐天邊)

One of the songs that she collaborated with.

Gogocheonbyeon Album (Park Joong-geun's composition)

The song 'Gogocheonbyeon' (皐皐天邊) originates from the pansori performance 'Sugungga' (水宮歌), where the character Byeoljubu emerges onto land and expresses his observations of the surrounding landscape. This piece is frequently performed as 'Heoduga' (虛頭歌) and is recognized as a significant and widely appreciated lyric within various renditions of 'Sugungga.' Over time, 'Gogocheonbyeon' has evolved, taking on multiple forms such as a brief song, lyrics, a miscellaneous piece, a gramophone recording, and a folk song. Notably, the esteemed singer Song Man-gap (송만갑) is renowned for his interpretations of 'Gogocheonbyeon,' having recorded it multiple times alongside 'Byeoljubu Taryeong.' Other notable artists who have also recorded this song include Im Bang-ul (임방울), Kim Chang-hwan (김창환), Kim Hae-seon (김해선), Gib Chae-yeon (깁채연), Kim Mae-hyang (김매향), Ju Ran-hyang (주란향), and Kim Yeon-su (김연수).

Detail about the album

"Gogocheonbyeon" is an extensive composition that integrates the recurring phrase "Gogocheonbyeon Ilryunhong" with lyrics drawn from the "Saetaryeong," "Yusanga," and "Manhakcheonbong" series. The song typically commences with the line "Gogocheonbyeon Ilryunhong" (杲杲天邊日輪紅), depicting imagery such as the cyclical nature of Bujang (扶桑) and the return of Yanggok's (陽谷) Jajin. It also evokes scenes of a fishing village and the transformation of Nohwa into snow, alongside references to Buyeong (浮萍) as water.

Notably, the reading version of "Gogocheonbyeon" features an extended narrative at its conclusion, which elaborates on specific details and facts. This addition reflects the dedication of the creators to enhance the work's completeness as a reading material, aiming to provide a richer and more luxurious experience for the audience.

The lyrics of "Gogocheonbyeon" primarily depict mountainous landscapes and are associated with the "Yeongsan-ga" series of diverse songs, as well as the independent genre of "Yeongsan." (靈山) This song is categorized within the "Yeongsan-ga" (令山歌) collection, which celebrates natural beauty while reflecting the nuances of life's transitions. A notable feature of "Gogocheonbyeon," particularly for Gyeongseong Broadcasting Station, is its classification as a short song. During the 1930s and 1940s, numerous artists performed "Gogocheonbyeon," and such brief compositions were often transformed into miscellaneous songs, eventually becoming part of the folk music tradition.

As a folk song, "Gogocheonbyeon" was predominantly gathered from the southern regions where pansori enjoyed significant popularity. This context is integral to its identification as a southern folk song, highlighting the cultural and regional influences that shaped its development and dissemination.

Features & Significance

'Gogocheonbyeon' exemplifies a succinct musical form characterized by its refined essence. This piece, imbued with a distinct Yeongsan quality, upholds the dignity associated with aristocratic traditions, distinguishing itself from other pansori narratives and shorter compositions that may lack such decorum. The song's performance, utilizing the relatively light Jungjungmori jangdan, creates a dynamic yet reverent ambiance. 'Gogocheonbyeon' has been interpreted in various formats, including original pansori narratives, short songs, and folk adaptations, reflecting its versatile nature. This adaptability highlights its significance in bridging high culture with popular culture, although the precise origins of 'Gogocheonbyeon' remain a topic of debate.

Recent studies indicate that short songs, previously recognized primarily as components of pansori, were performed independently as a vocal genre known as 'Yeongsan' prior to their incorporation into pansori heuduga. This revelation prompts a re-evaluation of the classification of dan-ga, suggesting it may not merely be a subgenre of pansori as traditionally believed. Such findings contribute to a deeper understanding of the evolution of Korean musical forms and their cultural implications.

References

Kwon Oh-kyung (권오경) from Busan University of Foreign Studies has contributed significantly to the field of Korean language and literature. His research includes a comprehensive study on Gogocheonbyeon, published in Eomunhak, which explores its existence and functions within the context of Korean literary traditions.

In addition to his scholarly articles, Kwon has collaborated on various publications, including a single-volume collection co-authored with Kim Jin-young (김진영) and Lee Ki-hyung (이기형), as well as the complete works of Rabbit Tales, which spans five volumes. His academic pursuits also encompass the introduction of Korean music, particularly focusing on Yeongsan and Danga, as detailed in a publication by Lee Hye-gu (이혜구) from Seoul National University Press.

[papaya2000s]

The Crossroads of Youth

It is important to recognize that "The Crossroads of Youth" and "Turning Point of the Youngsters" are two translations of the same Korean title, "청춘의 십자로." For clarity, this post will consistently refer to the film as "The Crossroads of Youth." Enjoy.

"The Crossroads of Youth" (청춘의 십자로; 靑春의 十字路) is a melodrama film from 1934, produced during the Japanese colonial era in Korea. Directed and written by Ahn Jong-hwa, the film features performances by Lee Won-yong, Shin Il-sun, Kim Yeon-sil, and Park Yeon. Notably, it predates Korea's first sound film, "The Story of Chunhyang," and is recognized as the sole surviving silent film from this period, classified as National Registered Cultural Property No. 488. The narrative follows the experiences of a protagonist who migrates from the countryside to the capital. Initially considered a lost film, its original version was rediscovered in 2007 and subsequently released in 2008, albeit with some unrestored segments.

A scene from the 1934 film Crossroads of Youth silent film

Directed by Lee Gyu-seol (이규설) Cinematography by Lee Myeong-woo

Supervision, Script and Editing by Jong-Hwa Ahn (안정화)

Production Company - Geumgang Cinema (금강키네마)

Opening Date - September 21, 1934 at the Chosun Theatre (조선극장)

Movie Duration - 73 - 80 Minutes

Nation - Japanese colonial period Joseon during the Japanese colonial period.

Language - Silent Film/ Korean Commentary

Cast:

Lee Won-yong (이원용) – played Yeong-bok (영복)

Shin Il-seon (신일선) – played Yeong-ok (영옥)

Park Yeon (박연) – played Jang Gae-cheol (장개철)

Kim Yeon-sil (김연실) – played Young-hee (영희) (Some say it is Gye-sun, not Yeong-hee)

Yang cheol (양철) – played Ju Myeong-gu (주명구)

Moon Kyung-shim (문경심) – played Bong-seon (봉선)

Lee Bog bon (이복본) – played Baggage Carrier Friend (수화물 운반부 친구)

Choi Myung-hwa (최명화) – played Baggage Carrier Friend (수화물 운반부 친구)

Plot

The film opens with the sight of a train passing, setting the stage for Young-bok's journey. Having left his mother and younger sister, Young-ok, in their hometown, he arrives in Seoul to work as a porter at Gyeongseong Station. Previously, Young-bok spent seven years as a son-in-law at Bong-seon's household, but he relocated to the city after Bong-seon was taken by Ju Myeong-gu. In his new role, he encounters Young-hee, a gas station attendant who struggles to support her ailing father and younger sibling.

In the meantime, Young-ok, having lost her mother, travels to Gyeongseong in search of her brother. Unable to locate him, she secures a position as a waitress at a café. During her employment, she meets Gae-cheol, a wealthy associate of Ju Myeong-gu, who exploits her vulnerability, leading to a traumatic encounter. Concurrently, Young-hee, who has also lost her job, becomes ensnared in Gae-cheol's predatory circle.

After fleeing her home, Young-hee confides in Young-bok about the harrowing events. Upon learning the truth, Young-bok confronts Gae-cheol at his residence, where he reunites with Young-ok. She recounts her ordeal, prompting Young-bok to seek vengeance against Gae-cheol. In a climactic confrontation, he and his fellow porters launch an attack on Gae-cheol and Ju Myeong-gu's gang. Ultimately, with the conflict resolved, Young-bok receives Young-ok's blessing and vows to start anew alongside Young-hee.

Production

"Crossroads of Youth" marked the inaugural production of Geumgang Cinema, a film production entity. Initially conceived as a sound film, the decision was made to transition to a silent format due to certain deficiencies identified in the original footage. Producer Park Chang-soo, who adopted the stage name Park Yeon for his role as Jang Gae-cheol, financed the project himself after experiencing setbacks in his acting career, including an unsuccessful audition for actor recruitment.

The filming took place across various locations in Gyeongseong. The narrative commences at Gyeongseong Station, where the character Yeongbok serves as a porter, while scenes featuring Yeonghee as a gas station employee were captured in the vicinity of Gyeongseong Station Square. Additionally, a pivotal fight sequence between the characters Banbu and Gookilgwan was filmed in one of Seoul's numerous restaurants.

Screening

"Crossroads of Youth" premiered at the Joseon Theatre on April 21, 1934. On September 26 of the same year, an incident occurred involving an actor from the film who was stabbed. Um Dong-ok (엄동옥; 嚴東鈺), a boxer and gangster known as Shinmajeok, confronted Lee Won-yong and Park Yeon after viewing the film. During this encounter, Um Dong-ok requested a drink, citing the movie's commercial success, and subsequently demanded payment for his suit. When Lee Won-yong refused to comply, Um Dong-ok attacked him with a dagger. The weapon penetrated Lee Won-yong's left abdomen, cutting through his suit jacket and pants, yet fortunately did not injure his flesh.

Excavation and Re-examination

Following the discovery of "Sweet Dream" in 1936, a private collector reached out to the Korean Film Archive, claiming possession of nine rolls of vintage film. The collector explained that his father had operated a cinema named Dansungsa until shortly after the Korean War began, and the films were preserved when the theater ceased operations during the conflict. Upon examination by the Korean Film Archive, it was confirmed that these rolls contained the original negative of "Crossroads of Youth," which premiered in 1934. Notably, the discovered material was a negative rather than a positive print, consisting of nitrate film, with eight rolls representing the main content and one roll dedicated to the ending credits. Regrettably, one of the eight main rolls exhibited a whitening effect, rendering it irreparable.

The discovery of this film marked it as the oldest surviving Korean cinematic work, leading to occasional screenings organized by local authorities and film archives. Given its silent film status, many of these screenings featured a narrator to provide context and commentary. In 2007, the Korean Film Archive was approached by another private collector who provided nine nitrate negative rolls from the 1930s. Among these, one roll included the film's concluding titles, while another was too deteriorated to undergo restoration. The collector's father had retained these films from his time managing Dansungsa until the onset of the Korean War.

During the restoration efforts, the film research team initially identified the work as "Passion Flowing Through the Galaxy," directed by Ahn Jong-hwa. However, further investigation clarified that the film was indeed "Crossroads of Youth." This process underscores the challenges associated with preserving nitrate film, which is susceptible to oxidation and poses significant fire hazards, as evidenced by historical incidents even in well-organized archival environments like the United States. The fortunate survival of these films, despite their precarious conditions, is a remarkable achievement in film preservation.

Evaluation

In 1938, the Chosun Ilbo Film Festival recognized "Crossroads of Youth" as the sixth best entry in its list of the "Top 10 Silent Films."

Show

At the time of its debut, "Crossroads of Youth" achieved significant commercial success. Baek Ya-saeng, in his article "15 Years of Joseon Cinema" published in the Chosun Ilbo, remarked that "Mr. Ahn Jong-hwa produced ‘Crossroads of Youth,’ and the audience, eager for Joseon cinema, responded with applause reminiscent of raindrops at a festival." He further noted that during its screening in Daejeon on Chuseok in 1937, three years post-release, the venue was filled to capacity.

Director Ahn Jong-hwa later reflected on the film's box office performance, attributing its success partly to the return of actors Lee Won-yong and Shin Il-sun to the screen after a lengthy absence, which provided the film with a competitive edge at the box office.

Impact and Value

“Crossroads of Youth” predates the first sound film, “Chunhyangjeon,” released in 1935, and stands as the sole silent film produced during the Japanese colonial era. Its historical significance is underscored by its designation as National Registered Cultural Property No. 488 in South Korea, reflecting its cultural and artistic value.

Film historian Kim Jong-won highlights several aspects of “Crossroads of Youth” that contribute to its importance in Korean cinema. It provides insight into the state of filmmaking at the conclusion of the silent film era under Japanese rule, showcases the talents of early silent film actors like Shin Il-sun, Lee Won-yong, and Kim Yeon-sil, and offers a glimpse into the early works of Ahn Jong-hwa, whose contributions remain largely unexamined due to the loss of his films. Notably, the film's discovery occurred within South Korea, further enhancing its cultural relevance.

Anseong Art Hall to hold performance of historical drama 'Crossroads of Youth'

Anseong Art Hall in Anseong City set to showcase the historical drama 'Crossroads of Youth' at 7:30 PM on July 28, 2021, in the Small Theatre. This event was part of the hall's programming for Culture Day in July and represents a reinterpretation of the 1934 Korean silent film 'Crossroads of Youth' by Jong-hwa Ahn, presented in a new format known as bensa drama. The performance aimed to evoke the atmosphere of the Gyeongseong theatre district during the 1930s, as articulated through the bensa's dialogue in the original film.

Anseong Art Hall in Anseong City will present the historical drama 'Crossroads of Youth' at 7:30 PM on the 28th as part of the July Culture Day planned performance at the Anseong Art Hall Small Theater. (Photo = Anseong City).

The significance of 'Crossroads of Youth' lies not only in its status as a landmark Korean film but also in its aesthetic and historical value. The film has garnered acclaim for its visual artistry and has been featured in prestigious film festivals, including the Seoul Chungmuro International Film Festival and the Busan International Film Festival in 2008, as well as international events such as the 47th New York Film Festival in 2009 and the Guanajuato International Film Festival in 2011. These accolades have played a crucial role in promoting the global recognition of Korean cinema and its performances.

This production is under the direction of Kim Tae-yong, known for his work on "The Birth of a Family" and "Manchu." Jo Hee-bong, recognized for his roles in "Chuno" and "My Love from the Star," served as the narrator, showcasing his abilities and artistry throughout the performance.

The silent film play "Crossroads of Youth" creatively fills the voids of silent cinema with a blend of humour and wit. Tickets were available for 5,000 won with a 'Culture Day Discount,' and Anseong Art Hall implemented safety measures by limiting attendance to 143 seats, which was under 50% of the venue's small theatre capacity, to mitigate the risk of COVID-19 transmission.

[fake-married-my-dead-fiance]

Categorizing Parent-related Trauma for male and female leads in Kdramas:

Orphans: Lee Hong-jo (Destined With You) Moon Gang-tae (It's Okay to Not be Okay) Moon Sang-tae (It's Okay to Not be Okay) Ha-ru (Extraordinary You) Naksu/Cho Yeong (Alchemy of Souls) Tak Dong-kyung (Doom at Your Service) Nam Ji-ah* (Tale of the Nine Tailed) Cheon Sa-Rang (King the Land) Jang Man-wol (Hotel del Luna) Yoon Yi-seo (100 Days My Price) Kang Young-hwa (Moon in the Day) Kim Do-ha (Moon in the Day) So Mun (The Uncanny Counter) Do Ha-na (The Uncanny Counter) Kang Tae-moo (Business Proposal) Kang Tae-ha (The Story of Park's Marriage Contract, present version) Lee Heon (The Forbidden Marriage) Do Do-hee (My Demon) Ji Eun-tak (Guardian: The Great and Lonely God) Na Bong-seon (Oh My Ghost) Kang Cheol (W: Two Worlds) Do Da-hae (The Atypical Family) Yeom Hae-sang (Revenant) Jeong Ji-an (A Shop for Killers) Shin Jae-rim (Dreaming of a Freaking Fairytale) Kim Ji-uk**** (No Gain No Love)

Half Orphans with loving remaining parent: Eun Dan-oh (Extraordinary You) Koo Chan-sung (Hotel del Luna) Ye So-ran (The Forbidden Marriage) Nam Ha-neul (Doctor Slump) Yu Ji-hyck (Marry My Husband) Kang Hee-soo (Captivating the King) Choi Yi-jae (Death's Game) Im Sol (Lovely Runner) Ryu Sun-jae (Lovely Runner) Lee Chang (Kingdom) Lee Geum, Prince Yeoning (Haechi) Gu San-yeong (Revenant) Son Hae-yeong (No Gain No Love)

Half Orphan + Remaining Parent is THE WORST: Jang Uk (Alchemy of Souls) Kim Do-ha (My Lovely Liar) Lee Yul (100 Days My Price) Ahn Min-hyuk (Strong Woman Bong-Soon) Seo Mok-ha (Castaway Diva) Gong Tae-seong (Sh**ting Stars) Kang Tae-ha (The Story of Park's Marriage Contract, past version) Yi In (Captivating the King) Kang Ji-won (Marry My Husband) Kang Sun-woo (Oh My Ghost)

Parents (at least one) are THE WORST but Both Are Still Alive: Jang Shin-yu (Destined With You) Han Yi-joo (Perfect Marriage Revenge) Ko Mun-young** (It's Okay to Not be Okay) Mok Sol-hee (My Lovely Liar) Gu Won (King the Land) Crown Prince Lee Hwi/Dam-yi/Yeon-seon (The King's Affection) Do Bong-soon (Strong Woman Bong-Soon) Woo Young-woo (Extraordinary Attorney Woo)*** Jung Ji-woon (The King's Affection) Kang Bo-geol/Lee Ki-ho (Castaway Diva) Yeo Jeong-woo (Doctor Slump) Hong Hae-in (Queen of Tears) On Eun-yoo (Twinkling Watermelon) Oh Yeon-joo (W: Two Worlds) Yoon Ji-ho (Because This Is My First Life) Nam Se-hee (Because This Is My First Life) Bok Gwi-ju (The Atypical Family) Moon Cha-min (Dreaming of a Freaking Fairytale)

Immortal Being that Still Somehow has Parent Issues: Myul Mang/Doom (Doom at your Service) Lee Yeon & Lee Rang (Tale of the Nine Tailed) Jeong Gu-won (My Demon)

Added trauma flavour: Parent was murdered in front of them (**Still counts if they survived the murder Parent tried to murder them Dying from seemingly incurable disease which makes their parents/guardian sad (If your parents are alive, you must pay for it by dying yourself) Adoptive parent/stepparent is THE WORST

Somehow has normal, alive parents: Lee Jun-ho (Extraordinary Attorney Woo, Has no backstory at all. We only meet his older sister and hear nothing about his childhood.) Shin Ha-ri (Business Proposal, her family is refreshingly normal, right down to her brother being sent out to find her when she's drunk) Oh Han-byeol (Sh**ting Stars, Again, we know almost nothing about her family, only that she has twin sisters. But she doesn't appear to have childhood trauma.) Park Yeon-woo (The Story of Park's Marriage Contract, her mom being annoyed at her for something that is a crime doesn't count as bad parenting) Lee Young-joon/Sung-hyun (What's Wrong with Secretary Kim, his trauma comes from a kidnapper, his parents faced a pretty impossible situation and did their best. They clearly love their kids) Baek Hyun-woo (Queen of Tears, nothing wrong with them out of the ordinary and they are in the drama a significant amount.) Ha Eun-gyeol (Twinkling Watermelon, very loving parents and the deafness and their reliance on him is not anyone's fault)

*Counting her as an orphan even though she gets her parents back after 20 years, she spent her childhood orphaned. ***This character is tricky because I understand why her mother wanted nothing to do with her, but her trying to manipulate the dad and also saying he didn't raise her properly made me so angry. ****This character is tricky because he was explicitly raised as an orphan by his grandma, his father didn't sign his birth certificate (Korean equivalent of this), and he's registered as the child of his grandmother, not his actual mom. His grandma is dead by the beginning of the series and he is living alone without family, so I think he counts as an orphan.

Uncatagorized due to lack of clarity on parents: Soundtrack #1, Hospital Playlist, Happiness

[salanaii]

Learn Korean with me - Week 12

Day 1: Let’s Speak Korean Ch 6 – At the Airport (26 – 50)

좌석이지정되어있나요? Jwa seog I ji Jeong doe eo iss nay o Are the seats pre-assigned?

제좌석은어디죠? Je joa seog eun eo di jyo Where is my seat?

좌석변경이가능한가요? Joa seog byeon Gyeong I ga neung han ga yo Can I change the seat?

창가쪽/복도쪽/가운데좌석있나요? Chang ga jjog/bog do jjog/ ga un de joa seog iss nay o Do you have a(n) widow/isle/middle seat available?

창가쪽/복도쪽/가운데좌석부탁합니다 Chang ga jjog/bog do jjog/ ga un de joa seog bu tag hab ni da A(n) widow/isle/middle seat, please.

정시에출발하나요? Jeong si e chur bar ha nay o Does it depart at the scheduled time?

동반자가있나요? Dong ban ja ga iss nay o Do you have a companion?

비자가있나요? Bi ja ga iss nay o Do you have a visa?

신분증을보여주세요. Sin bun jeung eur bo yeo ju se yo Show me (your) card, please.

몇시에탑승시작하죠? Myeoch si e tab seung si jag ha jyu At what time does the boarding start?

만석입니다. Man seog ib ni da All seats are filled. = We have a full flight.

탑승권을보여주세요. Tab seung gwan eur bo yei ju se yo Show me (your) boarding pass, please.

한국항공카운터는어디죠? Han gug hang gong ka un teo neun eo di jyo Where is the counter for Hanguk Airline?

짐은어디에서찾나요? Jim eun eo di e seo chaj nay o (From) Where do I find (=pick up) (my) baggage?

짐을잃어버렸어요. Jim eur irh eo beo ryeoss eo yo I lost (my) baggage.

면세점은어디죠? Myeon se jeom eun eo di jyo Where is the duty free shop?

애완동물도탑승이가능한가요? Ae wan dong mur do tab seung I ga neung han ga yo (Literal) Can pets come aboard, too? = Can pets fly, too?

환승게이트는어디죠? Hwan seung ge I teu neu neo di jyo Where is the transfer gate?

연착되었나요? Yeon chag doe eoss nay o Is it delayed?

다음비행기편에늦었습니다. Da eum bi haeng gi pyeon e neuj eoss seub ni da (I’m) late to the next flight. = I’m late for (my) connecting flight.

비행기를놓칠것같아요. Bi haeng gi reur noh chir geos gat a yo I think I’m going to miss (my) airplane (=flight).

제가먼저가도될까요? Je ga meon jeo do doer gga yo May I go first?

줄이기네요. Jur I gi ne yo (Literal) The line is long. = It’s a long line.

여행자보험을구입하고싶은데요. Yeo haeng ja bo heom eur gu ib ha go sip eun de yo I’d like to purchase a traveler’s insurance.

면세품을주문하고싶은데요. Myeon se pum eur ju mun ha go sip eun de yo I’d like to order duty free items.

[huipinkhair]

Pentagon - Reacting to your debut! (Pre-debut friends)

조진호 - Jo Jin Ho

- is so so happy for u!

- brings your group flowers after your debut stage

- takes you out to dinner after asking you how you felt about “your first day of idol life”

이회택 - Lee Hoe Taek

- let’s be real he probably made your debut song

- so supportive!!

- talks on Weverse Live about making the song and the recording process - telling universe funny stories about you and your members

- is probably already composing your next song for u

양홍석 - Yang Hong Seok

- is a little worried about your health as your promotions go on

- makes sure you’re not overworking yourself

- probably does a cover of your song

고신원 - Go Shin Won

- plays your song on his radio show

- talks about you on livestream

- texts you funny screenshots of your face during your promotions

여창구 - Yeo Chang Gu

- does a tiktok dance challenge w you

- brings your group meals if you let him know you don’t have time to get food

- just a supportive angel

옌안 - Yan An

- supports you quietly

- texts you a lot after seeing your promotions

- hopes you’re staying healthy and you’re not losing confidence

유토 - Yuto

- does a dance challenge w you for TikTok

- talks about you and your group in an interview

- visits your MV set with meals and hot packs

- just a big sweetie pie

캉형구 - Kang Hyung Gu

- does a dance cover of ur song

- reposts your MV on his instagram story

- helped your group with the choreo

정우석 - Jung Woo Seok

- plays ur song on live

- tells stories about you from pre-debut

- makes universe fall in love w you and your group

- wrote the rap parts in your song, helped the rap members rehearse and learn it

[mapofthelayout]

yeo one layouts

like / reblog if u save

dont repost

#143

[ecstasy-krp]

⇢ Ecstasy Roleplay is requesting Pentagon’s Yeo One to join the party! ⇠

Lets get the party started! Ecstasy RP is a 18+ MeWe based general roleplay. Accepting of all Asian face claims. All writing styles are welcome. We’re always looking for fun and exciting people to join the party. Think you can keep the party going?

✦ Master List ✦ Rules ✦ Apply ✦

[honggugames]

Idk what event or fan sign this is from.

But it has blessed my little heart all the same :')

[chilleesunmi]

wooseok // yeo one // shinwon // pentagon

please like if saved ♡

[pandoraablr]

Yeo Chang gu ; Yeo one ✘ PENTAGON

x6 avatars / 400*640  ➤ coloring 4

G A L E R I E

[iliketanjoubi]

Happy birthday, Chang Gu! 🌌

27.03.2019 🍃

[sil-ver-spo-on]

Pentagon ot9

[badbby-fits]

PENTAGON DEMO_2 OUTFITS

[lavender-kills]