#Ji Weon

[coconanodayo]

My 2023 Weektober (more like OTPtober XD) 🤭 Week 1: FuseHound 💣🐾 Week 2: Hansori 💥🧪 Week 3: Ji-Weon 🎤👮 Week 4: Yorunix 💙🔥 Week 5: Settphel 💪🏽🥮

[lyrates]

ㅤㅤㅤㅤㅤㅤ ㅤ ㅤㅤ𝗗𝗢𝗦𝗦𝗜𝗘𝗥  𝗖𝗛𝗘𝗔𝗧  𝗦𝗛𝗘𝗘𝗧

legal name :  lyrate lifeform approximation aka LYLA / woen  min-ji nicknames :  ly / mj  (  preferred  )  ,  min  ,  minnie , mimi date of birth :  february  10th / february 10th age : technically none / 20s-30 sex :  an ai / female  place  of  birth :  made in nueva york / daejeon,  south  korea currently living :  nueva  york / nueva york spoken  languages :  she knows it all tbh / english,  korean, spanish,  french,  asl education :  ais don't need school / master's  in  computer  science hair color :  brown with a golden sheen as a holo, light copper as a droid / light  copper  eye  color :  brown with a golden sheen, reddish brown as a droid / brown height :  varies as a holo, teeny tiny is her go to state. as a droid, 5'5" / 5'5" 

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ𝗙𝗔𝗠𝗜𝗟𝗬  𝗜𝗡𝗙𝗢𝗥𝗠𝗔𝗧𝗜𝗢𝗡

parents :  none / weon  hyejin  (  mother,  deceased  )  &  weon  daehyun  (  father,  deceased  ) siblings :  she considers a select few spideys as found family / woen  ji-ho  (  older  brother,  40, estranged  )  relative :  none / lyla  lee  (  maternal  cousin,  @xenjoyedthat  ) children :  none / um  what?  pets :  she's thinkin about a lil holo buddy / a  black  kitty  named  azula, cutest cat in the world

ㅤㅤㅤㅤㅤㅤㅤㅤ𝗥𝗘𝗟𝗔𝗧𝗜𝗢𝗡𝗦𝗛𝗜𝗣  𝗜𝗡𝗙𝗢𝗥𝗠𝗔𝗧𝗜𝗢𝗡

sexual  orientation:  undecided, exploring / bisexual,  biromantic babyyy relationship  status:  depends, who even wants to be with an ai/droid? someone love her / labels  suck  &  commitment  is  dumb since  when:  always / always

PLEASE NOTE: italicized is for mj variant lyla!

tagged by : @fangwebs ( holding ur hands for tagging me ♡ ) tagging : everyone i know has been tagged so swipe if you haven't done it yet!!

[gaybienpiola]

4) Canosito Rico

25-enero-2018 00:47 hrs

               *Nota al lector/a 1: Este relato contiene palabras que podría encontrar fuertes u obscenas (ultra flaites) pues describo conductas sexuales típicas en saunas gay. Si eres muy sensible o un tonto weón grave (bromita:3 ) le aconsejaría no leerlo.

               ** Nota al lector/a 2: No tengo nada contra los penes pequeños, al contrario, no podría importarme menos. En este relato los menciono solo para dar una cuota de humor pero está comprobado que no importa el tamaño del pene, sino como se use, así que querido lector tulachi, no se sienta mal o identificado. Esto es todo culpa de la industria del porno que nos enseña que mas es mejor… y créanme, no es así :3

En fin… empecemos con la historia (transcrita desde mi diario de vida):

Hey querido/a amigo/a! Acá de nuevo. Hoy no he tenido mucho tiempo de escribir. Mi sobria chica se vino a dormir a la casa y he estado de niñero (niñero gratis, sin pago alguno más que las gracias).

               Ok. Entonces seguiré con mis historias erhomosexuales jejejeje. Después del tipo anterior (Sr Engañoso) no recuerdo nada muy importante o nada en concreto. Así que nos vamos a saltar hace… ¿Cuánto tiempo? ¿Tal vez un mes atrás? ¿Tal vez dos?

               Fui a un sauna gay en Santiago (he ido a 3 distintos, pero este es mi favorito, en serio, lo mejor de lo mejor), el famoso “282”. Es lo mejorcito que hay, tanto en instalaciones como en filete que llega. Arrendé un cubículo (una pequeña habitación) que tenía 1 cama, 1 velador y 1 luz. Empecé a recorrer el sauna buscando alguna presa que llamara mi atención (pues si… fíjense que en estos saunas uno va a puro culiar… así que señores completamente hetero sexuales… no les aconsejaría que vayan… verán cosas no agradables a su vista). La cosa es que nada llamó mucho mi atención.

               Luego de un rato, vi a un gordito (tipo oso), me pareció algo atractivo y me lo llevé a mi cubículo, ¡que tanta weá! El weón igual era rico, daba ricos besos, tenía una tula normal (Normal-normal, no cuando preguntai a un weón por grindr ¿de que porte la tienes? Y te dicen normal, y cuando le vai viendo el paquete, tu cachai que el weón es tulachi o pichulachi, como quieras llamarle) Todo bien, nos pajeamos, me pegó unas buenas chupetias, dormimos una siestecita y chao. (El weón quería seguir durmiendo siesta, pero tuve que mandarle varias indirectas pa que se fuera… aún quería buscar más)

               Luego vi a un venezolano canosito (36 años me dijo). Ahí el mismo procedimiento que la presa anterior. Me fijé que el venezolano era medio gangoso… no me importó. Al principió me parecía atractivo, pero después de un rato me aburrió este venezolano. Daba buenos besos eso sí, ahí ganó puntos, tenía esas bocas gruesas y blanditas que te da gusto besar. El pico… pues lo tenía chueco, oscuro y chico (nada personal contra los tulachi amigos, lo que pasa es que yo había escuchado que los venezolanos tenían picos grandes… ¡Una vil mentira! ¡No crean todo lo que les dicen! O tal vez a mi me tocó el siga participando)… En todo caso he visto producto nacional mejor (aunque ni tanto tampoco). Misma weá una mamada, una corrida de paja, una siestecita juntos y te fuiste a la chucha, venezolano ql. Después me di una ducha, fui a devolver la llave de mi cubículo y me iba a ir… hasta que lo vi!

EL CANOSITO RICO.

MI-JI-TO  RI-CO!!!! Puta el weón rico…

               Este canosito rico, (le llamaremos así desde ahora, pues nunca supe su nombre) era de mi mismo porte (yo mido 1,80), era canosito (pero se notaba que su color de pelo era negro), piernas bonitas, gorditas y peluditas, brazos con pelo, corte de pelo varonil, pecho y guatita peluda, pero no en exceso, nariz grande, pero bonita (respingada) y super varonil. Se me hacia como un viejo cuico, pero joven (sé que mi descripción es pésima… pero imagínense lo mejor que puedan con esos datos… y él era mejor que eso que se imaginaron). Yo lo vi, y dije, me voy a comer a este weón.

               Traté de acercarme, pero el weón se arrancaba (no literalmente, pero onda yo me acercaba y él se iba). Finalmente había perdido la esperanza… no me pude casar a la presa que quería, a ese pedazo de filete que me llenaría… Filo dije yo, saco e’ weas, tampoco era pa tanto. La cosa es que lo vi en el jacuzzi principal (hay un jacuzzi súper grande a la entrada del sauna) y quise intentar por última vez. Me senté al lado de él (obvio). El “canosito rico” estaba tranquilito haciéndose el weón, pero de repente, me doy cuenta… se está tocando el paquete… “Bien”, pensé yo, no lo voy a molestar… voy a ser sutil (porque ya sabrán mis queridos amigos que van a estos saunas… el casarte un weón que te gusta es como casar un pajarito, tení que saber hacerla o se te vuela la presa…) Me fui por una técnica suave que no tiene tantas probabilidades de fallar (pruébenla si están en un jacuzzi) Le toqué suavemente su pie con el mío. Yo me dije “si lo mueve, significa que no quiere absolutamente nada conmigo, y si lo deja… ahí veremos” Le toqué el pie. No movió el suyo. Es más, el empezó a acariciar mi pierna con la suya así que me dije “está frito el pescao’”. Bueno, la cosa es que nuestras caricias piernales seguían, el “canosito rico” me empieza a tocar el paquete y yo el suyo. Era medio tulachi(ca) pero no me importaba, el weón era tan sersi. De repente se pone al frente mío y me chanta el medio calugaso! Oooohhh! ¡Mijito rico! A pesar que estaba afeitado, tenía la piel súper rasposa por la barba que ya le estaba creciendo, esa barba rica que hacía que me doliera la cara y que siempre me excitaba tanto.

               Después de un rato el jacuzzi se empezó a llenar de mirones y el “canosito rico” me dice ¿Vamos pa’ otro lado? (¡maldita sea! Pensaba yo… ¿Por qué devolví la llave del cubículo?) Filo, fuimos a uno de los cuartos oscuros y agarramos rico… Me chupó el pico y le dije que yo no podía hacer lo mismo pues tenía una herida en la lengua (no era cierto… bueno si, es que a veces me pasa que se me hincha una de estas cosas como poritos que tiene la lengua… ¿les ha pasado? La cosa es que evito hacer sexo oral si tengo alguna herida en la boca). Aunque no me aguanté y le di unas buenas chupaitas a sus coquitos (su buen quico) y una que otra chupada a su tronco (la parte de más abajo pa no tener contacto con ningún liquido pre-seminal ni nada… ¿Urgido yo? Noooo, para nada…)

               El “canosito rico” me empieza a calentar diciéndome cosas al oído con su voz ultra varonil. “Córrete en mí”, “Vente enterito encima mío”, “que estai rico” “Tírame todo el moco en la guatita…” Bueno, así lo hice, le tire todos mis hijos en su guatita. Me dio un beso todo fome y me dijo “me voy a bañar…” y se fue. Hubiera deseado que se quedara conversando conmigo un rato… pero creo que él también quería ir a casar en la jungla llamada “282”… tenía que prepararse…

               A veces pienso que los weones que dejo botados después del sexo (o más que el sexo, las pajas) piensan lo mismo… (Sr. Engañoso, por ejemplo). Tal vez sienten que encontraron al indicado… pero conmigo se equivocan… por mi situación soy egoísta en el sexo.

               Me hubiera gustado conversar con el “canosito rico” de nuevo, tomarnos un cafecito, saber de su vida, siento que quedé flechado. Jejejeje lo más cómico es que nunca lo voy a volver a ver. Que fome e injusta es la vida… pero tal vez el destino me está preparando algo mejor. O peor… espero que sea algo mejor.

                                            Cierre de transmisiones

“Mijito rico! Nunca te voy a olvidar! O a lo mejor si… de hecho es muy probable…”

“Además mientras más trato de recordarte, más te idealizo y mis recuerdos te transforman en algo mejor de lo que tal vez fuiste…”

[sexy-lee-min-woo]

Lee Min Woo Credits

Korean Music Copyright Association

Minwoo (W0512900) (LEE MIN WOO; M) 73 Copyrighted Songs

2002

♥ Shinhwa - Free (Perfect Man, 2002) [FREE - 001000100239] Written by Lee Min Woo; Composed by Lee Min Woo

2003

♥ Lee Min Woo - Intro (Un-Touch-Able, 2003) [INTRO - 001001073497] Written by Lee Min Woo, Eric, Kim Do Hyun; Composed by Lee Min Woo; Arranged by Lee Min Woo ♥ Lee Min Woo - Punch (Un-Touch-Able, 2003) [PUNCH - 001001072519] Written by Kim Do Hyun; Composed by Lee Min Woo; Arranged by Lee Min Woo ♥ Lee Min Woo - Sweet Girl (Un-Touch-Able, 2003) [SWEET GIRL - 001000101262] Written by Kim Do Hyun, Lee Min Woo; Composed by Kim Do Hyun; Arranged by Kim Do Hyun

2004

♥ Shinhwa - U (Brand New, 2004) [U - 001001077291] Written by Lee Min Woo; Composed by M.A.R.S 1; Arranged by M.A.R.S 1 ♥ Shinhwa - Oh! (Brand New, 2004) [OH! - 001001077294] Written by Lee Min Woo, Sin Hye Sung; Composed by Lee Min Woo; Arranged by Lee Min Woo ♥ Shinhwa - All of My... (Brand New, 2004) [ALL OF MY... - 001001077296] Written by Lee Min Woo, Brian Kim; Composed by Lee Min Woo; Arranged by Lee Min Woo

2005

♥ Jewelry - Superstar (2005) [SUPERSTAR - 001001082208] Written by Lee Min Woo; Composed by Park Keun Tae; Arranged by Park June Ho, Park Sung Jun ♥ Lyn - Sunshine (Feat. Eric) (2005) [SUNSHINE - 001001087747;SUNSHINE - 001001085439] Written by Lee Min Woo; Composed by Lee Min Woo; Arranged by Lee Min Woo ♥ Shin Hye Sung ft Tsuyoshi Kusanagi - Sky (Let's Go to the Beach OST, 2005) [HA NEUL (YEONG WEON HAN SA RANG ) - 001001087609] Written by Lee Min Woo; Composed by Hwang Seong Je ♥ Shinhwa - Oh! New Club-mix Ver. (SHINWHA SUMMER STORY 2005) [OH! NEW CLUB-MIX VER - 001001087409] Written by Lee Min Woo, Sin Hye Sung; Composed by Lee Min Woo; Arranged by Kim Do Hyun ♥ Lee Min Woo - Fighter (IInd Winds, 2005) [FIGHTER - 001001088153] Written by Lee Min Woo; Composed by Kim Do Hyun; Arranged by Kim Do Hyun ♥ Lee Min Woo - Mirage (IInd Winds, 2005) [SIN GI RU - 001001088154] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Lee Min Woo - Bump!!! (IInd Winds, 2005) [BUMP - 001001088151] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Lee Min Woo feat. Tablo of Epik High - Let Me Love You (IInd Winds, 2005) [LET ME LOVE YOU - 001001088156] Written by Lee Min Woo, David Kim; Composed by Ryu Hyoung Sup; Arranged by Ryu Hyoung Sup ♥ Lee Min Woo - Sometimes (IInd Winds, 2005) [SOMETIMES - 001001088149] Written by Lee Min Woo; Composed by Teddy Yoon; Arranged by Teddy Yoon ♥ Lee Min Woo - Battle (Jump! Jump!) (IInd Winds, 2005) [BATTLE - 001001088155] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Lee Min Woo - L.U.V. (IInd Winds, 2005) [L.U.V - 001001088157] Written by Lee Min Woo; Composed by Kim Do Hyun; Arranged by Kim Do Hyun

2006

♥ Shinhwa - Paradise (State of the Art, 2006) [PARADISE - 001001099276; PARADISE(8TH ALBUM STATE OF THE ART - 001001111115] Written by Lee Min Woo, David Kim; Composed by Jang Jun Ho; Arranged by Jang Jun Ho

2007

♥ Kim Dong Wan feat Eric Mun - My Love (2007) [MY LOVE(FEAT.E RIG ) - 001001119589] Written by Eric, Brian Kim; Composed by ; Arranged by Lee Min Woo ♥ Lee Min Woo feat. Eric - Showdown (Explore M, 2007) [SHOWDOWN - 001001120180] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Lee Min Woo feat. Tablo - The 'M' Style (Explore M, 2007) [THE M STYLE - 001001120181] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Lee Min Woo - Boy Friend (Explore M, 2007) [BOY FRIEND - 001001120182] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Lee Min Woo feat. Dyna-Mic - Stomp (Explore M, 2007) [STOMP - 001001120183] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Lee Min Woo - Pretty Woman (Explore M, 2007) [PRETTY WOMAN - 001001120188] Written by Lee Min Woo; Composed by Kim Ji Woong; Arranged by Kim Ji Woong ♥ Lee Min Woo - One Last Cry (Explore M, 2007) [ONE LAST CRY - 001001120189] Written by Lee Min Woo; Composed by Jang Jun Ho; Arranged by Jang Jun Ho ♥ Lee Min Woo - L.O.V.E. (Explore M, 2007) [L.O.V.E - 001001120190] Written by Lee Min Woo; Composed by Kim Do Hyun ♥ Lee Min Woo - My Child (98/03/24) (Explore M, 2007) [MY CHILD - 001001120191] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Lee Min Woo - Explore 'M' (Explore M, 2007) [EXPLORE M - 001001124425] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Wonder Girls - Move (feat. Lee Min Woo) (2007) [MOVE - 001001123480] Written by Lee Min Woo; Composed by Lee Min Woo; Arranged by Lee Min Woo

2008

♥ Lee Min Woo with C-Luv - Love is Two Beautiful Letters (The Sentimental Reason, 2008) [SA RANG I RAN YE PEUN DU GEUL JA - 001001131347] Written by Lee Min Woo, Kim Tae Wan; Composed by Kim Do Hyun; Arranged by Kim Do Hyun, Noneun Eorini ♥ Lee Min Woo - Back to the Funk — M's Life (The Sentimental Reason, 2008) [BACK TO THE FUNK-M'S LIFE - 001001131349] Written by Lee Min Woo; Composed by A.K ♥ Shinhwa - Run (Volume 9, 2008) [RUN - 001001134499] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Shinhwa - So In Love (Volume 9, 2008) [SO IN LOVE - 001001134502] Written by Lee Min Woo; Composed by Kwon Tae Eun, Jang Jun Ho; Arranged by Kwon Tae Eun, Jang Jun Ho ♥ Shinhwa - Destiny of Love (Volume 9 White Edition, 2008) [HEUN JEOG (DESTINY OF LOVE) - 001001139021] Written by Sin Hye Sung; Composed by Lee Min Woo ♥ V.O.S - Beautiful Life (2008) [BEAUTIFUL LIFE - 001001136527; BEAUTIFUL LIFE(CONCERT VER.) - 001001136536] Written by Lee Min Woo; Composed by Roz; Arranged by Roz/Lee Sang Ho ♥ Lee Min Woo feat. Mighty Mouth - I 'M' U (M Rizing, 2008) [I"M"U - 001001143070] Written by Lee Min Woo, Lee Hyun Do; Composed by Lee Min Woo, Lee Hyun Do; Arranged by Lee Hyun Do, Donnie Jang ♥ Lee Min Woo - Forgive (, ) [YONG SEO HAE - 001001143072] Written by Lee Min Woo; Composed by Kwon Tae Eun, Jang Jun Ho; Arranged by Kwon Tae Eun, Jang Jun Ho ♥ Lee Min Woo feat. Son Dam-bi - Hot! (M Rizing, 2008) [HOT - 001001143075] Written by Lee Min Woo; Composed by Kwon Tae Eun, Jang Jun Ho; Arranged by Lee Min Woo, Kwon Tae Eun, Jang Jun Ho ♥ Lee Min Woo - Wonderful Life (M Rizing, 2008) [MEOS JIN IN SAING - 001001143077] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Lee Min Woo feat. BigTone - Masquerade (M Rizing, 2008) [GA MYEON MU DO HOI - 001001143078] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Lee Min Woo - Wink Show (M Rizing, 2008) [WING KHEU SYO - 001001143079] Written by Lee Min Woo; Composed by Kwon Tae Eun, Jang Jun Ho; Arranged by Kwon Tae Eun, Jang Jun Ho ♥ Lee Min Woo feat. Yubin of Wonder Girls - Honey Pickup (M Rizing, 2008) [HONEYKO SI GI - 001001143081] Written by Lee Min Woo; Composed by Kwon Tae Eun, Jang Jun Ho; Arranged by Kwon Tae Eun, Jang Jun Ho ♥ Lee Min Woo - Sad Song (M Rizing, 2008) [SAD SONG - 001001143082] Written by Lee Min Woo, Lee Young Jun; Composed by Lee Young Jun

2009

♥ Lee Min Woo - Minnovation (Minnovation, 2009) [MINNOVATION - 007000005263] Written by Lee Min Woo; Composed by Lee Min Woo ♥ Lee Min Woo - Love Me Ice Cream (Minnovation, 2009) [LOVE ME ICE CREAM - 007000005264] Written by Lee Min Woo; Composed by Lee Jong Suk, C Kim Ryan ♥ Lee Min Woo - Summer Time (Minnovation, 2009) [SUMMER TIME - 007000005265] Written by Lee Min Woo; Composed by Lee Young Jun; Arranged by Lee Young Jun ♥ Lee Min Woo - Masquerade [Outsidaz Club Remix] (Minnovation, 2009) [GA MYEON MU DO HOI (OUTSIDAZ CLUB REMIX) - 007000005267] Written by Lee Min Woo; Composed��by Lee Min Woo ♥ Lee Min Woo - The 'M' Style [BK Remix] (Minnovation, 2009) [THE M STYLE (BK REMIX) - 007000005268] Written by Lee Min Woo; Composed by Lee Min Woo

2011

♥ Teen Top - Tell Me Why (2011) [TELL ME WHY - 100000201035] Written by Lee Min Woo, Melody9; Composed by Lee Min Woo, Melody9; Arranged by Lee Min Woo, Melody9

2012

♥ Shinhwa - Venus (The Return, 2012) [VENUS - 100000267181] Written by Lee Min Woo, Andrew Jackson(PRS), Thompson Joshua, Roudette-Muschamp Gandalf Louis; Composed by Andrew Jackson(PRS), Thompson Joshua, Roudette-Muschamp Gandalf Louis ♥ Shinhwa - Red Carpet (The Return, 2012) [RED CARPET - 100000267103] Written by Lee Min Woo, Brian Kim; Composed by Lee Min Woo, Kim Do Hyun ♥ Shinhwa - Stay (The Return, 2012) [STAY - 100000267105] Written by Lee Min Woo, Melody9; Composed by Lee Min Woo, Melody9 ♥ Shinhwa - Be My Love (The Return, 2012) [BE MY LOVE - 100000267110] Written by Lee Min Woo; Composed by Seo Jae Ha, Lee Renaud Eugene; Arranged by Lee Renaud Eugene ♥ 4Minute - Femme Fatale (2012) [FEMME FATALE - 100000291358] Written by Lee Min Woo, David Kim; Composed by Kim Do Hyun

2013

♥ Shinhwa - That's Right (The Classic, 2013) [GEU RAI - 100000512400] Written by Lee Min Woo; Composed by Kim Do Hyun ♥ Shinhwa - New Me (The Classic, 2013) [NEW ME - 100000518434] Written by Lee Min Woo; Composed by Lim Kwang Wook, Andrew Choi ♥ Shinhwa - Hurricane (The Classic, 2013) [HURRICANE - 100000515914] Written by Lee Min Woo; Composed by Kim Young Hu, Waermoe Samuel Per Harry, Vadadi Robert Zsolt ♥ Shinhwa - I Gave You (The Classic, 2013) [I GAVE YOU - 100000512406] Written by Lee Min Woo; Composed by Melody9

2014

♥ Lee Min Woo - Love Supreme (M+Ten, 2014) [LOVE SUPREME - 100000608777] Written by Lee Min Woo, Brian Kim, Johanson Fred, Aberg Ingemar Rune Lennart, Olsson Stefan Douglas Hay, Adams Ben; Composed by Johansson Fredrik, Aberg Ingemar Rune Lennart, Olsson Stefan Douglas Hay, Adams Ben ♥ Lee Min Woo feat. Eric - Taxi (M+Ten, 2014) [TAXI - 100000609563] Written by Lee Min Woo; Composed by Kim Ryan, Chris Golightly, Lee Anthony Jongsuk ♥ Lee Min Woo - Kiss It Away (M+Ten, 2014) [KISS IT AWAY - 100000614549] Written by Lee Min Woo, Brian Kim; Composed by Cantrall Alexander V, Hoeppner Jeffrey Scott, Audino Nicholas Valentino, Hughes Lewis Beresford, Dylan Solomon

2015

♥ Shinhwa - Alright (We, 2015) [ALRIGHT - 100000850686] Written by Lee Min Woo, Gray, Casper, Chase Vincent Malone; Composed by Gray, Casper, Chase Vincent Malone ♥ Shinhwa - Give It 2 Me (We, 2015) [GIVE IT 2 ME - 100000845676] Written by Lee Min Woo, David Kim; Composed by Kim Do Hyun ♥ Shinhwa - I'm in Love (We, 2015) [I'M IN LOVE - 100000845678] Written by Lee Min Woo, Kim Tae Wan, David Kim, Won Young Heon, Dong Ne Hyeong; Composed by Kim Tae Wan, Won Young Heon, Dong Ne Hyeong ♥ Yeo Eun & Sophia Pae - Superstar (Jewelry cover) (King of Masked Singer, 2015) [SUPER STAR - 100001131067] Written by Lee Min Woo; Composed by Park Keun Tae; Arranged by Phat Music1, Phat Music2, Phat Music3 ♥ Lee Min Woo feat. Geragida - Breathe (, ) [SUM GYEOL (BREATHE) - 100001268358] Written by Lee Min Woo, Kim Do Hyun; Composed by Lee Min Woo, Sammy, Kim Do Hyun; Arranged by Kim Do Hyun

2016

♥ Shinhwa - Like a Star (Unchanging, 2016) [BYEOL - 100001486239] Written by Lee Min Woo; Composed by Yoo Jong Woon, Park Sang Jun ♥ Shinhwa - #Chocolat (Unchanging, 2016) [#CHOCOLAT - 100001486240] Written by Lee Min Woo; Composed by Nicholas Kim, Joo-hyun Kim, Kim Do Hyun

2017

♥ Shinhwa - Tonight (Unchanging, 2017) [TONIGHT - 100001504717] Written by Lee Min Woo, Brian Kim; Composed by Lee Min Woo, Chase, Lim Kwang Wook, Kim Ryan, Lee Anthony Jongsuk, Stone Sam

[cr0issant-de-lune]

Yo si pregunto!^.^ y creo que deberías responder de la 1 a la 100! :3 saludos desde Colombia!

Contestare todo esto, porque estoy aburrida y no me interesa si nadie lo lee jdjf, y saludos ññ para ti tambien.

1. Piensa en la última persona que te dijo “Te amo” ¿Crees que en verdad lo sentía?: Mi amiga siempre me dice que me ama, así que si sdhgsg❤               

2. ¿Saldrías con alguien de 18 años teniendo la edad que tienes ahora?: Para webiar si, para ser algo mas no                                                                           

3. ¿Cuándo fue la última vez que estuviste enojado y feliz al mismo tiempo?: Todo el tiempo estoy asi sdghhgsd                                                                      

4. ¿Le sonreirías a un(a) extraño(a)?: Ciertas veces lo hago ññ                        

5.¿Hay alguien a quien le moleste que salgas/hables con una persona?: Hmm creo que si 

6. ¿Hoy escuchaste una canción que te recuerde a alguien?: Pues no7. ¿Qué estas vistiendo en este momento?: Mi pijama ji8. ¿Qué tan seguido escuchas música?: Escucho música casi todo el día, no me aburre :o9. ¿Usas mas jeans o shorts?: Para ir a la u siempre jeans, cuando llego a mi casa me pongo pijama o mis calzas, modo vago activado haha10. ¿Crees que tu vida va a cambiar dramáticamente antes del 2013?: Estamos a 2017 ya, cambio mas que la chucha pos oye, cuático 11. ¿Eres una persona social o antisocial?: Hay veces que soy suuuuper social y otras asocial, porque no se.12. ¿Has besado a alguien cuyo nombre empiece con la letra “A”?: Si13. ¿Y con la “J”?: Si, el que cacha, cacha XDDDD14. ¿Sabes manejar?: No, pero es lo que mas quiero uou15. ¿Te importa que las personas hablen mal de ti?: La verdad aveces si, por culpa de mi mamá > hdhdh pero con el tiempo he aprendido que eso no debe importar:}.16. ¿Vas a salir de la ciudad próximamente?: Ojala saliera y no volviera nunca mas pos oye.17. ¿Cuándo fue la última vez que lloraste?: No recuerdo D:

18. ¿Le has dicho a alguna persona que la amas?: A mi gata nomas❤ 19. Si pudieras cambiar tu color de ojos, ¿Lo harías?: Negros, bien darks o un tono morado kjlkdsf20. ¿Existe alguien que te guste por quien harías absolutamente todo?: Pues no21. Nombra algo que no te guste de este día: Que me salió un orzuelo y duele caleta pos22. ¿Crees que es tierno cuando te besan en la frente?: Si loco hshas demasiado23. ¿Quién fue la última persona con la que hablaste?: Con mis amigos jij24. ¿En dónde estás en este momento?: En la pieza de mi hermano, aprovechando que se fue jahashd25. ¿Hay alguien que te diga frecuentemente (sin contar la familia) que te ama?: Mis amigas cuentan? hddssf26. ¿Alguna vez has querido a alguien que no puedes tener?: A mi tobby hhjsdjd ahh27. ¿Quién fue la última persona con quien hablaste antes de dormir?: Con mi mamá ayer 28. ¿Te enfermas seguido?: Me enfermo como 1-2 veces al año nomas jaahshsa29. ¿De dónde es la playera que estás usando en este momento?: Lo mismo me pregunto yo, ni me acuerdo de donde salio30. ¿Alguien te odia?: No tengo idea y no me interesa >:331. ¿Tienes botellas de alcohol escondidas en tu cuarto?: Tenia la cerveza que cree con mis compañeros de u guardada, pero hoy mi cuñado me la pidió porque se le antojo ahsad32. ¿Te gustan las películas de terror?: Si, me encantan :o33. ¿Quieres perforarte la lengua?: No, que feo y me da miedo34. Si tuvieras que eliminar un año de tu vida, ¿Cuál sería?: Este o el 2014 35. ¿Soñaste anoche?: Si, puuuuras weas XDDD36. ¿Cuándo fue la última vez que le dijiste a alguien que la/lo amabas?: Hoy a mi amiga ghasdhgasd porque si.37. ¿Crees estar casado(a) en 5 años?: No, estaré en la playa tomando sol haha38. ¿Crees gustarle a alguien?: No39. ¿Crees que alguien esté pensando en ti en este momento?: Menos jij40. ¿Tuviste un buen día ayer?: Si loco :’341. ¿Estabas en una relación hace dos meses?: No42. ¿En las próximas 48 horas, vas a salir con alguna chica?: Solo salgo de mi casa para ir a la u, porque pobre soy43. ¿Alguien te ha dicho que no quiere perderte nunca?: Si, pero las palabras se las lleva el viento44. ¿Qué es la mejor parte de la escuela?: Cuando me quedaba con mis amigos a los viernes peteros a puro webiar cssm :’(❤45. ¿Tienes fotos tuyas en tumblr?: Una vez subí una pero ni me acuerdo ya, fue hace años46. ¿Mensajeas en clase?: Cuando me aburro si47. ¿Revives cosas que ya pasaron una y otra vez en tu cabeza?: Si, los recuerdos que tengo con mis amigos hasdjad :’)❤48. ¿Eras soltero(a) el verano pasado?: No :o49. ¿Tu vida se parece a como era hace dos años?: No, la verdad es bastante distinta :l50. ¿Qué se supone que debes estar haciendo en este momento?: Durmiendo o terminando mis tareas, pero no que paja jahahah.51. ¿Odias a la última persona con quien hablaste?: No y no se generar odio, que triste.52. ¿Eres amigable con todos?: Si pero aun así algunos son tan pesados weon oh53. ¿Alguna vez te ha gustado alguien que jamás esperaste te iba a gustar?: Si D: 

 54. ¿Crees poder estar en una relación por 6 meses y ser fiel?:Si, es algo importante eso para mi en una relación 55. ¿Eres bueno(a) escondiendo tus sentimientos?: La verdad si haha, gane. 56. ¿Crees que te gusta alguien?: No lo creo.57. ¿Has besado a alguien cuyo nombre empiece con “R”?: No58. ¿Prefieres amigos hombres o mujeres?: Para ciertas cosas prefiero tener amigos hombres y para otras mujeres, aunque aveces me da miedo confiar en ellas hahaha.59. ¿Alguno de tus amigos te ha visto llorar?: Así cuático, creo que solo 4 amigos, porque no me gusta que me vean llorando60. ¿Odias a alguien?: No, siento que no puedo generar odio y rencor hacia nadie uou.61. ¿Cómo está tu corazón?: De vacaciones, no se donde esta el weon D:

62. ¿Hay algo en tu pasado de lo que detestes hablar?: Ciertas cosas solamente.63. ¿Has llorado por una chica?: No D:

64. ¿Quién probablemente está hablando mal de ti en este momento?: Ni idea, pero si me están pelando, porfa que sean verdades y no mentiras de las que me he enterado JAJAJA.

65. ¿Te pintas las uñas?: Si, pero ahora ando pobre y no tengo cutes para pintármelas :c

66. ¿Te han robado un beso?: Si y no me gusto para nada67. Las chicas aman cuando sus novios lloran, ¿Verdad?: No, que ridículo, ¿quien goza eso? :s.68. Se te han caído los pantalones en público?: No, pero una vez se me cayo la falda del colegio XDDDDDDDD, por suerte frente a mis amigos y no gente desconocida :c69. ¿Quién fue la última persona con la que hablaste por telefono?: Con mi hermano para que fuera a buscarme jij70. ¿Cómo luces en este momento?: Como vagabundo con un ojo hinchado71. ¿Tienes alguien con quien puedas ser completamente tú?: Con mis amigos72. ¿Te puedes comprometer a una sola persona?: Si pero hoy en día ya nadie jaja73. ¿Tienes a alguien del sexo opuesto a quien le puedas contar todo?: Si ññ❤74. ¿Alguna vez te has sentido reemplazado?: Hartas veces, y penca pos75. ¿Te despiertas molesto(a)?: Cuando me despiertan de la forma que me molesta me levanto con toda la caga.76. ¿Eres celoso(a)?: Si, pero no exageradamente x-x77. ¿Crees que las relaciones valen la pena?: Si, siempre y cuando los dos remen para el mismo lado78. ¿Estás alejandote de alguien?: Aveces pienso que si uwu79. ¿Quieres ver a alguien en este momento?: Si:{80. Menciona algo que tienes que hacer mañana: Mas tareas que la chuuu81. La última persona que te vio llorar: Mi mamá :c82. ¿Hay alguien que nunca vas a olvidar?: A las personas que realmente me importan jij.83. ¿Crees que la persona por la que tienes sentiemientos, es celosa?: No existe, no se llama84. Si la persona con la que quieres estar, estuviera aquí contigo, ¿Qué estarían haciendo?: Quiero estar con mi Bruno uwu85. ¿Superaste tu pasado?: Si, pero ciertas cosas me faltan D: 

86.¿Alguna vez te ha gustado tu mejor amigo(a)?: No :o87. ¿Hay alguien que sepa un secreto enorme sobre ti?: Si, el Felipe y la Karla jij88. ¿Si tu primer amor tocara a tu puerta, pidiendo disculpas y con regalos, que harías?: Si vienes con papas fritas se las recibo y luego cierro la puerta dhjdjfsds89. La última persona que besaste llega a tu puerta a las 3am, ¿La dejas pasar?: No, porque mi mamá no deja que pase nadie a mi casa, es mas pesa :c90. ¿Alguna vez te ha gustado alguien que tus amigos odiaran?: Creo que si91. ¿Estarás en una relación en dos meses?: No, estaré trabajando para irme a la chingada92. ¿Conoces a alguien que se llame Miguel?: Si, un ex compañero de curso93. ¿Has besado a alguien llamado Mariana?: No 94. ¿Estabas en una relacion en Abril?: Si:B95. ¿Eras feliz con la persona que te gustaba en Marzo?: Si pero duh96. No mientas, ¿la última persona que llamaste por telefono era atractiva?: Mi hermano es guapo okssssssss:’(97. ¿Qué dice el último mensaje recibido en tu celular?: Recarga tu celular desde blabla.. 98. ¿Si la persona que te gusta te dijera que le gusta alguien más, que le dirías?: Pues a estas alturas le digo: chao chao, buen viaje.99. ¿Has besado a alguien mayor que tú?: No:c100. ¿Cuándo cumples años? : 14/ 10 :c

Pos chao.

[chanoyu-to-wa]

An Introduction to Book 4 of the Nampō Roku:  Shoin [書院], Part 1; and Nōami’s Kun-dai Kan Sa-u Chō Ki [君臺觀左右帳記].

    The title of the Fourth Book of the Nampō Roku is, as represented above, Shoin [書院].

    To quote from JAANUS (http://www.aisf.or.jp/~jaanus/), the shoin is “[a] large reception room developed in the Momoyama period, used by military leaders, daimyou 大名¹ to receive large numbers of visitors.”  The term refers, only secondarily² (this aspect of the term is not even mentioned by JAANUS), to a private study (which, in Japanese is a shosai [書齋]), apparently through the term shoin (as an abbreviation of tsuke-shoin [付書院], meaning a dedicated alcove, with a built-in writing desk fronted by a large window, for reading and writing) being used as a sort of informal moniker for a dashi fu-zukue [出し文机].

    Returning to the JAANUS definition, the shoin is “[t]ypically  characterized by a set of formal features, collectively known as zashikikazari  座敷飾. These included a shallow decorative alcove oshi-ita 押板³, staggered shelves chigaidana 違い棚⁴, a built-in table tsukeshoin 付書院, and ornamental doorway choudaigamae  帳台構え⁵.”

    The above photo, which shows the decoration of the oshi-ita and chigai-dana of the shiro-shoin [白書院]⁶ in the Nishi Hongan-ji [西本願寺]⁷, in Kyōto, is representative of the arrangement of objects in the setting to which this book is dedicated⁸.

    The teachings contained in Book Four of the Nampō Roku ultimately derive from the two treatises of perhaps the two greatest of the dōbō [同朋], the Kun-dai Kan Sa-u Chō Ki [君臺觀左右帳記], by Nōami [能阿彌; 1397 ~ 1471]⁹, and the O-kazari Ki [御飾記] of Sōami [相阿彌; 1472 ~ 1525] (who was the grandson of Nōami); though interpreted here, in this retelling, by Jōō.

    While some scholars have speculated that the inexactitude found in Book Four was the result of the the oral transmission of this material over the centuries, the fact that a copy of Sōami’s densho was owned by the Imai family belies a lack of access by the machi-shū to the original form of the teachings.  Rather, what we see, upon careful examination, is that Jōō seems to have deliberately simplified things, as can be seen when we compare the following sketch of the way to arrange the objects on the oshi-ita from Book Four (this sketch shows a candlestick, flower vase, incense burner, and kōgō),

with the same arrangement as illustrated by Sōami, below (here, in addition to the censer and kōgō, two flower vases and two candlesticks are displayed, as well as a kyōji-tate [香筋建] -- a vase-like stand for the implements used when placing the incense in the kōro).

    Jōō not only reduced the number of utensils that were displayed, but often did so by using only one of the pair of objects prescribed by Sōami¹⁰.

    The same can be said for Jōō‘s arrangement for the dashi-fuzukue (tsuke-shoin) above, versus that prescribed by Nōami in the Kun-dai Kan Sa-u Chō Ki, below,

and by Sōami. below (whose sketch is clearly based on the one drawn by his grandfather, though with certain changes that evolved over the passage of time¹¹) -- the objects displayed in the sketches from the Kun-dai Kan Sa-u Chō Ki, and the O-kazari Ki, will be enumerated in the comments below (the sketches from Book Four of the Nampō Roku will, of course, be dealt with in their proper place in the translations).

    Consequently, we must recognize that Jōō clearly left his mark on the decoration of the shoin -- when it is used as a venue for the chakai -- by modifying the received practices, and it is his version of these teachings that are preserved in this book.

    The contents of Book Four of the Nampō Roku consist of nineteen essays of varying lengths (though most of these are limited to a few sentences, at most), followed by sixteen pages of sketches (with little or no explanatory kaki-ire [書入]).

_________________________

¹Daimyou [大名]:  daimyō.

²The Korean seo-weon [서원 = 書院], which refers to a kind of Confucian Memorial Hall to which a study or classroom was appended, seems to be closer to things like Yoshimasa’s Dōjin-sai [同仁齋], shown below -- which is referred to as a shoin in the writings of the early tea men, and was regarded as the prototype of the 4.5-mat tearoom -- than the original Japanese meaning would lead one to suppose.  This use of shoin, then, may have come from the usages of the expatriate community with which chanoyu was originally identified.

³Oshi-ita [押板]:  either a sort of low table, later a Korean folding-legged table (with the legs folded up into the box-like top), that was placed against one wall of a room (later, it was also placed inside the tokonoma), and on which objects (usually reminiscent of altar decorations) were arranged.  This is the kind of oshi-ita shown in the first illustration in Book Four of the Nampō Roku.

    Later the oshi-ita came to be built in (as a sort of prototype of the tokonoma, albeit on a greatly reduced scale -- this sort of alcove could only be used for objects; it was too shallow for a person to sit in like a tokonoma -- which was actually conflated with the mi-chōdai [御帳臺], a nobleman’s “seat of estate”).  This kind of oshi-ita was, thus, a precursor of the ita-doko [板床].

    The so-called Mittan-toko [密庵床] -- shown above -- while usually described as a tsuke-shoin (though the fact that it is attached to an inner wall, and so much too dark for reading and writing, rather argues against this interpretation), is actually rather similar to this kind of built-in oshi-ita.  The fact that this alcove is found in a tearoom that forms part of a temple, argues for its being considered as an oshi-ita.  (Technically, an oshi-ita has a strip of plaster below the board that forms the floor of the alcove, like a dashi-fuzukue, as can be clearly seen in the photo; an ita-doko, however, lacks this plastered section.)

⁴Chigaidana [違い棚]:  a pair of staggered shelves, usually adjacent to the tsuke-shoin, on which art-objects were usually arranged.  (Originally these shelves were used for books, rolled-up scrolls, and papers.)

    A chigai-dana can be seen in the photo of the Dōjin-sai (under footnote 2), to the left of the dashi-fuzukue.

⁵Choudaigamae [帳臺構え]:  this was the elaborately decorated pair of sliding doors through which the lord entered the large shoin (which functioned as his audience chamber).  It opened onto a hallway that connected to the inner rooms.  This doorway corresponds to the katte-guchi [勝手口] (sadō-guchi [茶道口]) of a tearoom.

⁶Shiro-shoin [白書院]:  this term refers to a shoin where the pillars and lintels are made of unpainted wood.  A shoin where these elements were lacquered is referred to as a kuro-shoin [黒書院].

⁷Nishi Hongan-ji [西本願寺]:  this temple was created by Hideyoshi, along with the Higashi Hongan-ji [東本願寺], in an attempt to dissipate (through the establishment of competing institutions) the lingering power of the Ishiyama Hongan-ji [石山本願寺] (subsequently the site of Hideyoshi’s Ōsaka-jō [大阪城]).  The Ishiyama Hongan-ji had been the head temple of the Ikkō-shū [一向宗], the Amidist sect (feared by Nobunaga and Hideyoshi) from which chanoyu derived the idea of “equality in the tearoom.”  Most of the early chajin (whether Japanese or Korean) -- in the two centuries or so prior to the Edo period -- were affiliated with this temple.

⁸The objects demonstrated the lord’s wealth (and so power).  But arranging these things tastefully showed that he was not simply a parvenu.

⁹The only extant versions of the Kun-dai Kan Sa-u Chō Ki, however, are all based on the copy of his grandfather’s work made by Sōami.  While the original Kun-dai Kan Sa-u Chō Ki was as much a catalog to the shōgun Yoshimasa’s collection as it was a dissertation on the way to arrange the objects in the shoin, much of this material was minimized to lists* when the book was copied -- probably because most of the objects had been destroyed when Yoshimasa’s storehouse was fired during the Ōnin wars. ___________ *Apparently Nōami provided a thumbnail sketch of each of the 165 paintings that are considered in the work -- allowing Yoshimasa (or his cultural advisers) to contemplate their selections without having to unpack large numbers of objects.  Once the decisions had been made, an assistant could be dispatched to the storehouse to retrieve the desired pieces.

    In addition to the four sketches that document the arrangement of objects on the dashi-fuzukue, chigai-dana, and o-chanoyu-dana, the stylized sketches of the various shapes of the classical karamono-chaire (which were still relevant to the aesthetes of Sōami’s day) also survive.  Though, even here, the shapes which we associate with these names have evolved (often considerably) since the early sixteenth century (Sōami died in 1525).

    Other utensils, such as chawan, kama, and bronze pieces, are described in brief text passages only, and then only by type.  So the Kun-dai Kan Sa-u Chō Ki speaks of things like white-porcelain and celadon bowls, rather than the Shukō chawan or Kazan temmoku.  These descriptions seem to have inspired Yamanoue Sōji’s work, though the identifying details unique to specific objects added by Sōji were not included by Nōami.

¹⁰Things like flower vases and candlesticks were sold in pairs (for use as altar decorations -- both in China, and in Korea, it was usual for each family to have their own ancestor altar, usually displayed in the main room of the residence), which had to be maintained carefully so that they would continue to look like mirror-images of each other (otherwise the metal would patinate differently, causing them to look dissimilar).  According to this way of thinking, a single piece from the pair would be virtually worthless -- an attribute that Jōō admired more and more deeply as he grew older.

¹¹Sōami produced the O-kazari Ki nearly 50 years after the text of the Kun-dai Kan Sa-u Chō Ki was first set down by Nōami.

==============================================

    Since at least a passing knowledge of the material discussed in the two classical dissertations on the decoration of the shoin would be helpful to an understanding of Book Four of the Nampō Roku, I decided to abstract all of the relevant illustrations from these predecessors, and reproduce them below (for the Kun-dai Kan Sa-u Chō Ki), and in the second part of this introduction (for the O-kazari Ki [御飾 記]).

◎ Kun-dai Kan Sa-u Chō Ki [君臺観左右帳記], was written by Nōami [能阿彌; 1397 ~ 1471], though the earliest of the extant copies (by Sōami) was taken from a manuscript dated 1476.

    In addition to the following four sketches of arrangements¹, this document also contains a collection of illustrations showing the 19 varieties of chaire recognized by Nōami (which I have not included here since they are irrelevant to our discussion), descriptions of various other implements (such as the kama, categories of chawan, and decorative bronzes -- which presage the more specific material entertained in the Yamanoue Sōji Ki [山上宗二記]) -- interspaced with sets of rules that are similar to what we will encounter in the first part of Book Four of the Nampō Roku²).

1) The first sketch, which is titled shoin no kazari [書ゑんのかさり], shows the "original” (hon-taru beku [本たるへく]) arrangement of the objects on the dashi-fuzukue (tsuke-shoin).

    From right to left, these are:  a shumoku [執木] (a hammer-like striker for the bell); jiku-no-mono [軸物] (a scroll, which should be resting on a jiku-no-mono-no-dai [軸物臺], a wooden tray-like stand for a scroll); a katana [刀] (paper-knife), sumi [墨] (ink-stick), and hitsu [筆] (writing brush), resting on a hitsu-ga [筆駕] (brush-rest); a bunjin [文沈], or else a mokuho [墨普] (neither word has been identified, though the former seems to refer to a small stand on which an ink-stick can be stood, and the latter to a sort of bamboo tweezers used to grasp a stick of ink that has worn away to a tiny piece); a mizu-iri [水入] (water container); kanshō [喚鐘] (a hanging bell)³; a kenbyō [硯屛] (a small ceramic screen that keeps dust from blowing into the ink); a suzuri [硯] (ink-stone); gesen [牙籖] (paper-weight) -- “a single one is acceptable” (rather than a pair); an inrō [印籠] (box for name-seals and seal-ink), on a small tray (ko-bon [小盆]); a mizugame [水瓶] (tokkuri-shaped water container), on a small tray (ko-bon [小盆]), in which a flower is stood; and finally, “on this hook, something should be suspended.”

2) An arrangement for the chigai-dana⁴.  The things shown are:  a jikirō [食籠] (a set of boxes in which sweets or side-dishes are served); (below) an ishi-bachi [石鉢] (a decorative basin in which a viewing stone and sand are arranged); a kyūrō [毬炉] (unidentified, but it seems to be a kind of censer shaped like a ball, in which a pinch of crushed incense wood is burned -- a larger version of a sode-kōro [袖香炉]), placed in a special holder that is stood on a base; sō-kabin [双花瓶] (a flower-vase for a large number of flowers⁵), which “should be placed on a kanban [翰盤] (a low writing-table⁶).”

3)  Another arrangement for a variant of the chigai-dana where the lower shelf is formed by the top of the ji-fukuro.  Nōami’s commentary states that suspended (unsupported) shelves of this sort were made of shidan [紫檀] (red sandalwood), karin [花梨] (rosewood), or zōge [象牙] (ivory), which are apparently more rigid than the more usual materials employed in Japan.

    The objects shown are:  a kagami-ka [鏡家] (a bronze mirror on a special stand); zōgan yakki [象眼藥器] (an ivory- and mother-of-pearl-inlaid box for medicinal herbs -- things like Korean red ginseng, dried jujubi fruits, and candied ginger-root); a kabin [花瓶] (flower vase) on a small tray -- with the comment “a flower should be stood [in the vase];” a kishin-yakki [歸心藥器] (a small, treasured⁷ yakki -- perhaps referring to a type of antique lacquered medicine container that was sometimes used as a chaire), tied in a fukuro and placed on a small tray.

4) And, finally, the arrangement of the o-chanoyu-dana [御茶湯棚], where six kenzan [建盞六] temmoku are arranged on a tray (bon [盆]), with a taikai [chaire] in the middle of the tray (naka ni taikai [中ニ大海]); ukai-chawan, large and small, on a rectangular (or square) tray⁸; and a jū-jikirō [重食籠] (a stacking set of boxes for sweets or side-dishes, to accompany tea or alcohol).

__________________________

¹While Nōami is said to have included a large number of small sketches of the numerous meibutsu paintings that were housed in the shogunal repositories along with his assessments, these sketches have all been lost.  What survives are the four sketches shown above, and the set of generalized illustrations of the classical karamono chaire (apparently intended to allow the reader to determine into which category his chaire fell, rather than as a way to identify specific pieces owned by Yoshimasa, at least in their present incarnation).

    The illustrations reproduced above were taken from the commercially published document (Meiji 17 [明治十七年], 1884) of an Edo period block-printed version that was made from a sixteenth century manuscript copy of the Kun-dai Kan Sa-u Chō Ki, that is currently held in the National Diet Libraries (collection call number 154-58). Though its antecedents are not entirely clear, this document seems to have been prepared from a handwritten copy of Sōami’s version of this material.  (Sōami was possibly working on the assumption that his manuscript would be disseminated among the contemporary tea community, which may have precipitated certain editorial liberties -- the removal of the sketches of the kakemono, and the stylized nature of the depictions of the chaire -- that he took with his grandfather’s work, since its original audience, the inner circle of the Ashikaga shōgunate’s artistic advisers was already at a dead end:  while the shōgunate nominally persisted until 1573, politically, and apparently culturally as well, it had already lost whatever relevance it once had.)

²Though we must make certain allowances for Jōō’s inclination towards simplification when we consider the teachings of Book Four in the light of those of its predecessors.  These changes were of a similar degree to what can be seen when we compare his sketches of the arrangements with those handed down from Nōami.

    Ultimately, at least for the modern practitioner of chanoyu, Jōō’s interpretations will probably strike us as the more fitting way to employ these conventions (since, from our perspective, Nōami’s originals will often seem overdone and cluttered --  the simplicity and minimalism championed by chanoyu during the Edo period, and after, were not always the norm, or reflective of what the contemporaries considered to be in “good taste”:  Nōami strove to bring order out of the chaos of display as an indicator of wealth and power, while Jōō, the owner of the most impressive collection of meibutsu pieces since Yoshimasa, preferred to focus the attention of his guests on a select few pieces, to emphasize their quality).

³The commentary on this sketch states that, rather than being limited to the kanshō [喚鐘], as shown, various other hanging objects -- such as a tsuri-kōro [つり香爐] -- could be displayed here as well.

    Bells of this sort were used to call the monks to convocation in the Zen temples in Korea, and it appears that this practice evolved into its use to inform the guests that the host was ready to serve them tea.  Thus, though usually beautiful as art-pieces in their own right, the kanshō actually served a real function in the shoin setting.

⁴In the version of the Kun-dai Kan Sa-u Chō Ki that was included in the Sadō Koten Zen-shu [茶道古典全集], another sketch showing an arrangement for the chigai-dana precedes this one.  However, while that sketch shows a tray of incense utensils on the upper shelf, an incense container (referred to as a jin-bako [沈箱], “jin” apparently meant to indicate jin-kō [沈香], “light” aloeswood), and a medicine box (yarō [藥籠]) below -- all of which seem typical of what was being done a generation or two after Nōami’s day.

    The comments that follow do not address the details of this arrangement at all.  However, they do suggest variations on the objects displayed, so a sketch (but whether the one shown in the Sadō Koten Zen-shu, or a different one, cannot be known) may have been lost.

⁵Sō-kabin [双花瓶] actually means “a pair of flower-vases.”  Since the sketch clearly shows a single large, basin-like vessel, perhaps sō [双] (which, in the original form of the kanji -- 雙 -- shows a brace of fowl gathered together in the hands) is being used to mean “a handful” -- in other words, “a vase [large enough] for a handful of flowers.”

⁶Kanban [翰盤] seems to refer to an ancient version of the laptop:  a tray-like table with two short lath-like legs that rested on the lap (with one of the legs dangling down on each side, to keep the table from slipping off), for writing.  A sort of tray-table.  The word does not survive in the modern language.

⁷Kishin-yakki [歸心藥器]: kishin [歸心], which is usually translated “homesickness” (literally, “a yearning to return home”), here is equivalent to the expression shin-buku [心服] meaning admiration, devotion, esteem.  Thus, a highly esteemed yakki.  Such antique pieces were sometimes used as chaire (matcha originally being considered a medicine).

    Jōō‘s antique take-nakatsugi [竹中次] maybe be an example of this sort of thing (it should be remembered that this kind of tightly-fitting lid is referred to as a ya-rō-buta [藥籠蓋], since it was originally employed on medicine containers).

⁸Ukai-chawan, dai-shō ni hō-bon [ウカイ茶椀、大小ニ 方盆.  Ukai-chawan [ウカイ茶椀] has not been identified, and might be a miscopying (for “usuchawan” [ウス茶椀] -- if the original page was torn or in a poor state of preservation, the katakana “su” [ス] could easily resemble “kai” [カイ]).

    On the other hand, since the O-kazari Ki (see below, sketch 3) has dai-shō usuchawan [大小うす茶碗] on the corresponding sketch, perhaps this word was ukai-chawan [迂回茶碗] (where u [迂] means circuitous, indirect, and kai [回] means to go around, thus indicating chawan that were intended to be passed around the room, rather than offered to a single guest, after which it is returned), referring to the case where a single bowl of tea would be shared by all of those present.

    In the period of the Kun-dai Kan Sa-u Chō Ki, important guests were usually served an individual bowl of koicha.  Then the cha-no-ato [茶の跡] -- the koicha remaining in the chawan after the guest had drunk -- was mixed with some more hot water, and this “thin tea” was shared by the guest’s attendants.  It would also be appropriate to transfer this “usucha” to a different chawan from the one that had been used by the noble guest.  Also, it is said that, when Yoshimasa prepared tea for his own attendants with his own hands, they asked him to make it thin (which would both make it easier to share, and mirror the conventional way of serving the left-over tea to the nobleman’s attendants), and then passed that single bowl of tea around, with each drinking a portion.  This was not a usual practice, but something indulged in only by Yoshimasa’s attendants -- to spare their lord the trouble of serving tea to each of them.  This may document this custom (since the Kun-dai Kan Sa-u Chō Ki was supposed to be reserved to the inner circle of the shōgun’s artistic advisers, rather than disseminated publicly, the lack of detail here would be understandable).

    In this case, the size of the ukai-chawan that the host chose to employ on any given occasion (according to the text, a large and a small bowl were available to him for this purpose) was probably determined by the number of people who would share the single bowl of usucha.

[pecanduendorfin]

Quotes Tentang Dituduh Sama Orang Lain

Web drama: Best Mistakes (Ep. 12)

YT Channel: KOK (King Of Korean-drama) TV

지현호: 너 그 날 기억나냐? 우리 축구하다 늦은 날.

(Neo geu nal gi-eong-na-nya? U-ri cyuk-gu-ha-da neu-jeun nal)

Hyeonho Ji: Kamu inget waktu itu nggak? Waktu kita telat (gara-gara) main sepakbola.

지현호: 똑같이 지각인데, 선생님은 소주호만 감싸더라.

(Ttok-ka-cyi ji-ga-kin-de, seon-saeng-nim-eun so-ju-ho-man kam-ssa-deo-ra)

Hyeonho Ji: Kita emang sama-sama telat, eh tapi guru itu malah baik hati sama Juho So.

지현호: 왜 반장까지 물들이냐고.

(Wae ban-jang-kka-ji mul-deu-ri-nya-go)

Hyeonho Ji: Beliau bilang kalo kita itu bisa jadi pengaruh buruk buat si ketua kelas (Juho So).

지현호: 제일 늦은 건 걔었는데.

(je-il neu-jeun geon gye-eot-neun-de)

Hyeonho Ji: Padahal, dia (Juho So) yang datang paling telat (terakhir).

(Jeda)

지현호: 난 아직 나를 잘 모르겠는데.

(nan a-jik na-reul jal mo-reu-get-neun-de)

Hyeonho Ji: Aku sendiri belum tau.

지현호: 나 빼고 다른 사람드른, 이미 결론 내린 거 같애.

(Na bbae-go da-reun sa-ram-deu-reun, i-mi gyeor-ron nae-rin geo ka-tae)

Hyeonho Ji: Tapi keliatannya orang-orang tuh, kecuali aku, udah bisa bikin kesimpulan sendiri.

김연두: 나도 그래. 한번은, 학교에 소프트렌즈를 끼고 왔었거든?

(na-do geu-rae. Han-bo-neun, hak-kyo-e so-peu-teu-len-jeu-reul kki-go wa-sseot-geo-deun?)

Yeondu Kim: Aku juga (pernah ngerasain hal yang sama). Waktu itu kan, aku pernah pake kontak lens ke sekolah.

김연두: 시헙 착욕으로 받아서.

(syi-heob cyak-yo-geu-ro ba-da-seo)

Yeondu Kim: dapet gratisan gitu sih, jadi aku cobain aja deh.

김연두: 근데 애들이 다 그러는 거야. 원일이냐고 원래 이런 애 아니지 않냐구.

(keun-dae ae-deu-ri da geu-reo-neun geo-ya. Weo-ni-ri-nya-go weon-lae i-reo-nae a-ni-ji a-nya-gu)

Yeondu Kim: Tapi, anak-anak (siswa/i) lain pada bilang kalo aku tuh nggak pantes pake itu.

김연두: 바로 뻬서 버렸어.

(ba-ro bbe-seo beo-rye-sseo)

Yeondu Kim: Jadi, ya aku ambil aja terus dibuang deh.

김연두: 조금만 그게 옷거나 노래를 흥얼거리거나. 욕을 해도 그래. 나답지 않다구. 그럽 때마다. 내가 대체 어떤 애지?

(jo-geum-man geu-ge ot-geo-na no-rae-reul heu-ngeol-geo-ri-geo-na. Yo-geul hae-do geu-rae. Na-dab-ji an-ta-gu. Geu-reob ttae-ma-da. Nae-ga dae-cye eo-tteon ae-ji?)

Yeondu Kim: Kalo aku lagi ketawa keras, nyanyi berdehem, atau ngomong kata kasar, mereka selalu bilang kalo kebiasaan itu nggak mencerminkan diri aku yang biasanya. Tapi, setiap aku denger (perkataan mereka itu), aku malah jadi heran sama diri sendiri, “Sebenernya aku ini anak macem apa sih?”

김연두: 싶은데. 뭐 그냥. 조용하고 안 꾸미고. 초록색 가방에 문제집이나 잔뜩 넣어 다니는 범생이젰지.

(syi-peun-de. mwo geu-nyang. jo-yong-ha-go an kku-mi-go. Cyo-rok-saek ka-ba-nge mun-je-ji-bi-na can-tteuk neo-heo da-ni-neun beom-sae-ngi-jet-ji)

Yeondu Kim: Aku rasa kayaknya mendingan aku jadi anak pendiam, cuek sama penampilan, dan jadi murid pekerja keras yang selalu bawa tas hijau berisikan buku yang banyak.

…… (Catat. Di titik2 ini sebenernya ada percakapan lagi, tapi aku nggak cantumin biar kalian tau intinya apa)

김연두: 그러니까 너도 너무 신경 쓰지 말라구.

(geu-reo-ni-kka neo-do neo-mu syin-kyeong mal-la-gu)

Yeondu Kim: Jadi nggak usah khawatir.

김연두: 편결을 가지고 있는 사람들 중에 대부분이 널 모르는 사람들이잖아.

(pyeon-gyeo-reul ka-ji-go it-neun sa-ram-deul ju-nge dae-bu-bu-ni neol mo-reu-neun sa-ram-deu-ri-ja-na)

Yeondu Kim: Kebanyakan orang yang doyan suuzon (ke kita) tuh orang yang gk kenal siapa diri kita sebenarnya.

김연두: 니가 제대로 알려주면 돼.

(ni-ga je-dae-ro a-ryeo-ju-myeon dwae)

Yeondu Kim: Kamu bisa jadi orang yang memperbaiki itu.

김연두: 그럴 필요가 없는 사람이라면, 그냥 무시하면되지.

(geu-reol pir-yo-ga ob-neun sa-ra-mi-ra-myeon, geu-nyang mu-syi-ha-myeon-dwe-ji)

Yeondu Kim: Dan kalo mereka memang orang yg gk pantes buat kamu (temenin), ya dicuekin aja, lagi.

김연두: 너 한테, 중요한 사람들한테면 신경 쓰라니까.

(neo han-te, jung-yo-han sa-ram-deul-han-te-myeon syin-kyeong sseu-ra-ni-kka)

Yeondu Kim: Mendingan fokus aja sama orang yang memang pantes buat kamu (temenin).

[asia1one]

دانلود سریال کره ای پیشنهاد تاثیر گذار Operation Proposal بازیرنویس فارسی

♦ دانلود سریال کره ای پیشنهاد تاثیر گذار Operation Proposal ♦ ♦ پخش آنلاین , دانلود موسیقی متن و زیرنویس ها تا قسمت آخر ♦

♦ دانلود سریال کره ای Operation Proposal ♦

♦ مشخصات سریال کره ای پیشنهاد تاثیر گذار ♦ عنوان: پیشنهاد تاثیر گذار / Operation Proposal عنوان کره ای:프러포즈 대 ژانر: دوستانه، عاشقانه، فانتزی، مدرسه ای کارگردان: Kim Woo Sun نویسنده:Yoon Ji Ryun شبکه پخش: TV Chosun تعداد قسمت ها:۱۶ تاریخ شروع پخش: ۸ فوریه ۲۰۱۲ کیفیت: ۴۸۰-۵۴۰-۷۲۰ ♦ خلاصه داستان ♦  این داستان موضوعاتی در مورد سفر زمان دارد و ماجرای اصلی در رابطه با شخصیتی است که مجبور می شود به گذشته سفر کند تا به عشق حقیقی خود برسد. کانگ بائک هو (یو سونگ هو) و هام ای سئول از دوره ابتدایی با هم دوست صمیمی بودند. بائک هو مدت زیادی است که عاشق ای سئول شاد و دوست داشتنی است. اما ای سئول قرار است با مردی دیگر وصلت کند و بائک هو و دوستانش هم به این عروسی دعوت شده اند. درست در زمان مراسم عروسی، بائک هو از اینکه احساسش را به او ابراز نکرده است احساس پشیمانی می کند. فرشته ای ظاهر می شود و به او فرصتی دوباره می دهد تا به فردی که دوستش دارد برسد. فرشته بائک هو را به زمان گذشته و تمام لحظاتی که با این دختر بوده است، می برد… ♦ بازیگران سریال کره ای Operation Proposal ♦

Yoo Seung-Ho Park Eun-Bin Kang Baek-Ho Ham Yi-Seul

Lee Hyun-Jin Ko Gyung-Pyo Park Young-Seo Kim Ye-Won Lee Doo-Il Kwon Jin-Won Song Chan-Wook Joo Tae-Nam Yoo Chae-Ri Jo Kook-Dae

Park Jin-Joo Jo Jin-Joo ♦ لیست موسیقی متن های سریال Operation Proposal ♦ 인사 / Insa / Greeting || by 제이레빗 / J Rabbit 오! 나의 여신님 / Oh! Naeui Yeoshinnim / Oh! My Goddess || by 타카피 / T.A. Copy Be My Heart || by 이지훈 / Lee Ji Hoon 그래서 몰랐다 / Geuraeseo Mollattda / That’s Why I Didn’t Know || by 이동�� / Lee Dong-Ha If You Love Me || by 제이레빗 / J Rabbit 작은 사랑이야기 / Jakeun Sarangiyagi / Small Love Story || by 박은빈 / Park Eun Bin 그날 이후 / Geunal Ihoo / ? || by 조진주 / Jo Jin Joo I Swear || by 김예원 / Kim Ye Weon 웃어봐 / Ooseobwa / ? || 다이아 / DIA Read the full article

[donnafmsbee]

Scenery

On a street filled with flowers

꽃들이 가득한 거리에

Kkot-deul-ie ga-deuk-han guh-ri-eh

I see you today as well

오늘도 그대를 보네요

Oh-neul-no geu-dae-reul bo-nae-yo

Will I be able to contain* you?

내 안에 담겨질까요

Nae ahn-ae dam-gyeo-jil-gga-yo

In the park where the moon at dawn has passed

새벽 달이 지난 공원에

Sae-byuk dal-ie ji-nan gong-weon-ae

I contain* my feelings of now

지금 내 감정을 담아요

Ji-geum nae gam-jung-eul dam-ah-yo

This song goes towards* you

이 노랜 그댈 향해요

Ie no-raen geu-daeul hyang-hae-yo

Shining in the night sky moon

밤하늘 달에게 비춰진

Bam-ha-neul dal-ae-gae bi-chweo-jin

Listen to the sound of the film

필름의 소리를 들어요

Film-ae so-ri-reul deul-uh-yo

I still wonder wonder beautiful story

Still wonder wonder best part

I still wander wander next story

I want to make you mine

That very moment, that time, that appearance

그 찰나의 시간의 그 모습을

Geu chal-na-ae shi-gan geu mo-seub-eul

Having missed it, my emotions feel sad*

놓친 내 마음이 아쉬워해

Not-chin nae ma-eum-ie ah-shwi-weo-hae

I regret it, I hope that very moment exists again

후회가 돼 다시 그 찰나가 있기를

Hu-hwae-ga dwae da-shi geu chal-la-ga it-gi-reul

I will gather pieces of the moonlight one by one

달빛 조각 하나하나 모아

Dal-bit jo-gak hana-hana mo-ah

And create a light, so

조명을 만들 테니

Jo-myung-eul man-deul tae-ni

With the same appearance of yesterday

어제와 같은 모습으로

Uh-jae-wa gat-eun mo-seub-eu-ro

Please come in front of me

내 앞에 와주세요

Nae ap-ae wah-ju-se-yo

I still wonder wonder beautiful story

Still wonder wonder best part

I still wander wander next story

I want to make you mine

I still wonder wonder beautiful story

Still wonder wonder best part

I still wander wander next story

I want to make you mine

If you depart, leaving your footprints behind

발자국 남기고 떠나가시면

Bal-jah-guk nam-gi-go ddeo-nah-shi-myun

I will protect that warmth

제가 그 온길 지킬게요

Jae-ga geu on-gil ji-kil-gae-yo

I will save it in black and white*

흑백 속 에 남길게요

Heuk-baek sok-ae nam-gil-gae-yo

[coconanodayo]

Ji-Weon my beloved 🌹

[buynsellsolar-blog]

U.S. tech company 1366 Technologies increases Hanwha partnership, will open silicon wafer factory in Malaysia

New Post published on http://roofnrays.com/u-s-tech-company-1366-technologies-increases-hanwha-partnership-will-open-silicon-wafer-factory-in-malaysia/

U.S. tech company 1366 Technologies increases Hanwha partnership, will open silicon wafer factory in Malaysia

Silicon wafer manufacturer 1366 Technologies together with its strategic partner Hanwha Q CELLS formally announced scaling plans for its Direct Wafer technology. The plans underscore 1366 Technologies and Hanwha Q CELLS’ shared commitment to realizing dramatic Levelized Cost of Energy (LCOE) reductions for their customers and to advancing the economic strength of the solar industry.

As a result of the ongoing collaboration between 1366 Technologies and Hanwha Q CELLS, the world’s first production factory to feature the Direct Wafer manufacturing process is near completion. The Direct Wafer Factory, located in Cyberjaya, Malaysia, is situated next to Hanwha Q CELLS’ existing cell and module manufacturing facilities and will produce Direct Wafer products to directly supply Hanwha’s cell and module production lines. The Direct Wafer Factory is expected to ramp no later than Q3 2019 and – provided that the initial footprint meets key performance criteria – has the potential to become the cornerstone for a multi-gigawatt-scale production facility.

“At the heart of Hanwha Q CELLS’ global leadership is the pursuit of innovation and the exploration of new methods and technologies that can deliver the most value to our customers,” said Ji Weon (Daniel) Jeong, CTO of Hanwha Q CELLS. “In line with this commitment to customer value, Direct Wafer technology will innovate the manufacturing process and, as a result, the quality of the products manufactured.”

1366 Technologies reached 20.3% cell efficiency in August 2017 with its Direct Wafer technology.

This year, 1366 Technologies, in response to the rapid wafer price decline, made a strategic decision to accelerate the development of “3D Wafers” – thin wafers with thick borders – and is continuously producing 3D Wafer products in its Bedford, Massachusetts, demonstration facility. While standard wafers grown from the melt are compelling on their own, the invention of a wafer that is thinner than the standard 180 microns in certain controlled regions, but retains strong and robust edges to be used in conventional, or nearly conventional, photovoltaic applications has significant implications for the industry. It provides manufacturers with a solution to reduce silicon usage without compromising existing standards or quality and makes it possible to realize industry advancements in cell architecture or module features.

Most importantly, the 3D Wafer capabilities of the Direct Wafer process will further reduce silicon utilization to less than 1.5g/W to create a cost position unattainable with conventional ingot-based production technologies.

“This past year has been filled with extraordinary accomplishments. We have moved rapidly to fill the void in a wafer manufacturing industry that leaves little room for innovation and ignores the strategic potential of the solar cell’s most expensive component,” said Frank van Mierlo, CEO, 1366 Technologies. “We are thrilled to take this next step with Hanwha Q CELLS. It is a major milestone in a partnership already recognized for its numerous achievements.”

News item from 1366 Technologies 

[lyrates]

ㅤㅤㅤㅤㅤㅤ ㅤ ㅤㅤ𝗗𝗢𝗦𝗦𝗜𝗘𝗥  𝗖𝗛𝗘𝗔𝗧  𝗦𝗛𝗘𝗘𝗧

LEGAL  NAME :  woen  min-ji NICKNAME[S] :  mj  (  preferred  )  ,  min  ,  minnie , mimi DATE  OF  BIRTH :  february  10th AGE : 20s-30 SEX :  female  PLACE  OF  BIRTH :  daejeon,  south  korea CURRENTLY  LIVING :  nueva  york SPOKEN  LANGUAGES :  english,  korean,  french,  asl EDUCATION :  master's  in  computer  science HAIR  COLOR :  light  copper  EYE  COLOR :  brown HEIGHT :  5'5" 

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ𝗙𝗔𝗠𝗜𝗟𝗬  𝗜𝗡𝗙𝗢𝗥𝗠𝗔𝗧𝗜𝗢𝗡

PARENT[S] :  weon  hyejin  (  mother,  deceased  )  &  weon  daehyun  (  father,  deceased  ) SIBLING[S] :  woen  ji-ho  (  older  brother,  40  )  RELATIVE[S] :  lyla  lee  (  paternal  cousin,  @xenjoyedthat  ) CHILDREN :  um  what?  PET[S] :  a  black  kitty  named  azula, cutest cat in the world

ㅤㅤㅤㅤㅤㅤㅤㅤ𝗥𝗘𝗟𝗔𝗧𝗜𝗢𝗡𝗦𝗛𝗜𝗣  𝗜𝗡𝗙𝗢𝗥𝗠𝗔𝗧𝗜𝗢𝗡

SEXUAL  ORIENTATION:  bisexual,  biromantic babyyy RELATIONSHIP  STATUS:  labels  suck  &  commitment  is  dumb SINCE  WHEN:  always

TAGGED BY: @arachnidiots !! TAGGING: swipe it from me <3

[halsteadproperty]

969 Park Avenue - Featuring JHMJams

In the heart of the Upper East Side, moments away from Central Park, the Met, and an endless array of world-class dining and shopping options, is 969 Park Avenue.

As classic and charming as a jazz quartet, the white-glove, full-service co-op is the perfect blend of luxury and intrigue. We have a unique look into Apartment 10C of this prewar gem as JHMJams’ live cover of “Moves Like Jagger” by Maroon 5 fills the space. Four JHMJams musicians walk through the stunning lobby of 969 Park, which boasts an around-the-clock doorman and elevator men. The building also includes a fitness center and beautiful roof terrace.

As the musicians walk into Apartment 10C, we get a glimpse at the high ceilings, hardwood floors, and wood-burning fireplace. The newly renovated one-bedroom, one-bath space is also outfitted with custom closets (two of which are walk-in), and an in-unit washer/dryer.

Cellist and JHMJams founder Ken Kubota strums his cello like a guitar in the spacious bedroom, and John Hong plays the clarinet in the kitchen, which is outfitted with custom cabinets, a Bertazzoni stove, and a paneled dishwasher and refrigerator. Flautist Ji Weon Ryu fills the dining room with her beautiful music, while Kaisa Mäensivu adds her whimsical bass to the luxurious space.

 JHMJams, a roster of classical and jazz-trained musicians, has consisted of 180 members to date. Ji Weon Ryu is principal flautist of the Albany Symphony and Kaisa Mäensivu leads her own jazz quartet, Kaisa’s Machine. John Hong can be heard on the soundtrack of Amazon’s Emmy-winning series Mozart in the Jungle. Founder Ken Kubota created JHMJams with the aim of giving great musicians an avenue to let loose, take chances, and be expressive with their music.

Kimberly Hastie’s collaboration with JHMJams was inspired by her own love for music. She is a member of Notables, the Young Patron Committee of Carnegie Hall. Kimberly is also on the board of trustees of Glimmerglass Festival.

[nabundean-t]

weon rapido ji ji

[psychotherapyconsultants]

Is Suicide Contagion Real?

With the popularity of the Netflix hit teenage high school show, “13 Reasons Why,” there’s been some debate among mental health care professionals and researchers as to whether an actual “suicide contagion” exists. Would such a contagion effect apply to something like a fictional TV series?

Is suicide contagion a real thing? And if so, is it really something we need to be concerned about as much in this day and age of instant entertainment and information available on the Internet, where people’s graphic depictions of self harm and suicide stories are always just a single click away for any teen to view as much as they’d like?

We’ve previously written about the positive impact of ’13 Reasons Why’ and Haley Elizabeth Roberts, LBSW added many more reasons why this series is so important to understanding teen’s mental health. It’s an important topic and one that shouldn’t be hidden from public view because of a misunderstanding of research about the theory of “suicide contagion.”

The theory of ‘suicide contagion’ remains controversial among researchers, with mixed proof from the scientific research. As Randall et al. (2015) put it:

One particular area of sustained controversy has been whether the occurrence of suicide clusters indicates the existence of ‘suicide contagion’ (Davidson & Gould, 1989; Gould et al., 1994; Joiner, 2003, 1999; McKenzie et al., 2005; Robbins & Conroy, 1983; Wasserman, 1984). The existence of a causal effect from exposure to suicidal peers is contentious (Joiner, 2003).

For instance, researchers Mercy et al. (2001) found that exposure to media accounts of suicidal behavior and exposure to suicidal behavior in their social network were associated with a lower risk of youth suicide attempts compared to persons who had not recently attempted suicide.

Many of these researchers are discussing studies focused on people’s real lives and people they actually know. As you can imagine, there’s a lot less research examining the impact that fiction — whether it be a movie, book, play, musical, TV show, or video game — has on a person’s mental health or desire to die due to suicide.

Celebrity Suicide

What about the impact of a celebrity’s death on people? Epidemiological research can help answer that question, since it examines suicide rates after the death by suicide of a known or local celebrity. One of the more recent studies looked at the suicide rate after the death of 25-year-old Lee Eun-ju, a famous actress in South Korean who died by hanging in 2005 (Ju Ji et al., 2014). The researchers found what they called a “copycat effect” following the intensive media coverage of Eun-ju’s death, especially significant for younger women who also used the same method of suicide.

Niederkrotenthaler et al. (2012), in a comprehensive meta-analysis of 10 studies containing data on 98 celebrity deaths due to suicide, also found a slight increase in population suicides. “The pooled estimate indicated a change in suicide rates (suicides per 100,000 population) of 0.26 (95% CI 0.09 to 0.43) in the month after a celebrity suicide,” the researchers wrote.

This isn’t so much a “contagion,” however, as much as it is simply an indicator of increased risk. The use of the provocative term “contagion” — suggesting “an influence that spreads rapidly” — is hyperbolic, meant to spur people to believe that even the mere mention of suicide without proper accompanying warnings and such will lead to widespread increased deaths. Research shows this simply isn’t the case, except perhaps for much-loved celebrities. You can’t “catch” suicidal thoughts and behaviors, like some sort of cold or disease.

Suicide in Fiction

A great deal of what we know about fictional accounts of suicide and the suicide contagion effect are largely anecdotal and not at all scientific. This Scientific American article about suicide contagion offers a good background on these anecdotal stories throughout history.

The scientific research is less clear on the impact that fictional stories have on people who read or view them. Only a handful of mostly-older studies have been done on this issue, the most recent I could find being from 1999 (pre-social networking and large-scale adoption of the Internet). In it, Hawton et al. (1999) found evidence for a 17 to 9 percent increase in emergency room admissions for a specific kind of self-poisoning — paracetamol (also known as acetaminophen or Tylenol) — that was portrayed on a UK television show, Casualty, in the two weeks after the show aired. That’s a significant effect and one worth noting.

But would it hold up today, when young adults and youth already have ready access to everything they’ve ever wanted to know about suicide from online suicide communities that promote both suicidal methods and behavior?

Suicide in a Connected World

Andriessen et al. (2017) found that 1 in 20 people in any given year know someone in their social network who has died by suicide — and 1 in 5 during an entire person’s lifetime. That means that a significant minority of people will know someone who actually died by suicide. But most of us, myself included, live to talk about losing someone to suicide with others.

The challenge in our social networks today is recognizing that teenagers (and adults) have access to as much suicidal content online as they could ever want. They don’t need to wait for a TV show to come out. There are multiple online communities that graphically discuss suicide stories, attempts, and methods. To pretend like these communities don’t exist or aren’t accessible to most teens today via a single click is to live in denial, which is counterproductive. Children and adolescents no longer are growing up in a world insulated from tragedies of this nature. Instead, they have far more access to these stories and resources than any previous generation.

More recently, Facebook Live and other video streaming services are grappling with live suicides being broadcast on their services. Who can stop such graphic scenes in real-time, when it can take only seconds to end one’s life? It seems like we’re focusing on the wrong thing altogether — depiction of suicide in a fictional TV series — when there is so much more — and more graphic — content available online today.

And to help prevent suicide? We can do so much more in our own social networks, by keeping in touch with other people’s real feelings. I know, these feelings can often be hard to get to. It’s not easy asking about another’s emotional health. But your concern may be something that a person drowning in suicidal thoughts can latch onto, giving them some hope for the future.

As Roberts wrote in her article last month, “We, as a society, need to slow down and pay more attention to those around us. We need to listen and not discount what people share with us.”

Good advice for us all.

  If you or anyone you know is having suicidal thoughts, please reach out to National Suicide Prevention Lifeline: 800-273-TALK (8255) or text “help me” to the Crisis Text Line at 741741.

I am indebted to ScienceDirect for providing access to the research studies used as the basis for this article.

  References

Karl Andriessen, Bayzidur Rahman, Brian Draper, Michael Dudley, Philip B. Mitchell. (2017). Prevalence of exposure to suicide: A meta-analysis of population-based studies. Journal of Psychiatric Research, 88, 113-120.

Hawton, K., Simkin, S., Deeks, J. J., O’Connor, S., Keen, A., & Altman, D. G. (1999). Effects of a drug overdose in a television drama on presentations to hospital for self poisoning: Time series and questionnaire study. BMJ, 318, 972–977.

Nam Ju Ji, Weon Young Lee, Maeng Seok Noh, Paul S.F. Yip. (2014). The impact of indiscriminate media coverage of a celebrity suicide on a society with a high suicide rate: Epidemiological findings on copycat suicides from South Korea. Journal of Affective Disorders, 156, 56-61.

Mercy, J. A., Kresnow, M. J., O’Carroll, P.W., Lee, R. K., Powell, K. E., Potter, L. B., et al. (2001). Is suicide contagious? A study of the relation between exposure to the suicidal behavior of others and nearly lethal suicide attempts. American Journal of Epidemiology, 154, 120-127.

Niederkrotenthaler, Thomas; Fu, King-wa; Yip, Paul S. F.; Fong, Daniel Y. T.; Stack, Steven; Cheng, Qijin; Pirkis, Jane. (2012). Changes in suicide rates following media reports on celebrity suicide: A meta-analysis. Journal of Epidemiology and Community Health, 66, 1037-1042.

Jason R. Randall, Nathan C. Nickel, Ian Colman. (2015). Contagion from peer suicidal behavior in a representative sample of American adolescents. Journal of Affective Disorders, 186, 219-225.

from World of Psychology https://psychcentral.com/blog/archives/2017/05/19/is-suicide-contagion-real/

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Ugly sweaters for my OTPs (Ji-Weon & FuseHound)