Chapter 214: Kim Hee-sun

Rebirth Begins in 2002 Chinese Entertainment, Chapter 209: Kim Hee-sun

Cheng Chen's arrival injected a strong boost into the Korean entertainment industry.

It is widely known that Asian entertainment looks to Japan, and after Japan comes Korea.

Moreover, during this special period, Korea mobilized nearly the entire nation's resources to develop its entertainment industry.

This is somewhat similar to Xiang Province in China.

After arriving at the hotel where he was staying, Cheng Chen rested briefly.

Afterwards, at the invitation of the concert's organizing company, Cheng Chen attended the evening banquet.

"Mr. Cheng, hello, I am Park You-ryeol, chairman of Jucan Culture. Welcome to Korea to hold your concert."

A middle-aged man with a balding crown smiled warmly as he spoke to Cheng Chen.

Jucan Culture is the Korean partner collaborating with Cheng Chen on this concert.

This company is a mid-to-upper-tier entertainment firm in Korea, though still somewhat behind the "Big Three."

But its strength is still not to be underestimated; rumors say it has a chaebol backing it.

Of course, these are just rumors; the specific details remain unknown…

"Chairman Park, hello. Thank you for your warm hospitality."

"Haha, it's nothing. Let me introduce you, Mr. Cheng.

This is Kim Hee-sun. I'm sure you've heard of Miss Kim's name in China?"

Park You-ryeol pointed to a woman beside him.

Cheng Chen had noticed her presence the moment he entered.

But he had no connection with Kim Hee-sun, and at such a banquet, she was clearly brought along by someone else.

Politely approaching another person's date is considered extremely impolite in Korea.

So Cheng Chen had been waiting for Park You-ryeol to introduce her.

"Of course I've heard of her. Miss Kim is very well-known in China.

As far as I know, Miss Kim just co-starred last year with China's Kung Fu superstar Cheng Long in a film."

Cheng Chen smiled slightly at Kim Hee-sun and said.

The Kung Fu superstar Cheng Chen referred to is Cheng Long; the film they co-starred in is the famous The Myth.

The film was shot in October 2004, with an investment of approximately 160 million Hong Kong dollars.

Locations included the Qin Terracotta Warriors Museum, Jiuxiang's limestone caves, Lishan's cliff waterfalls,

India's Disha Holy Mountain, Disha Temple, and Shengshadi Ancient Tomb — just the location scouting cost 60 million Hong Kong dollars.

This was also Cheng Long's first time playing a historical drama role.

When asked about the origin of making The Myth, Cheng Long said he wanted to try a historical role.

The Myth features both ancient and modern settings, and he played a general.

This was still very fresh for him.

As for Kim Hee-sun herself, her influence in Korea is also very significant.

In 1992, at age 16, Kim Hee-sun debuted as an advertising model.

She won first place in the SMART Model Competition.

In 1993, she starred in her first television drama, Dinosaur Teacher.

In 1995, she starred in the family comedy The Boss of the Bathhouse's Men.

In 1997, she made her film debut in Loser's Resurrection.

These may seem unremarkable, but starting in 2000, she won the Korean Blue Dragon Film Award and held the title for three consecutive years.

This year, Korea's cable channels held a poll to commemorate their tenth anniversary: "Ten Representative Korean Beauties."

After online and expert voting, the selected actresses included Lee Young-ae, Jun Ji-hyun, Song Huiqiao, Kim Tae-hee, and Kim Hee-sun.

Moon Geun-young, Son Ye-jin, Eugene, Go So-young, and Han Ga-in.

Lee Young-ae was praised for her harmonious eyes, nose, and mouth, while Kim Tae-hee's forehead contour was lauded as exceptionally beautiful.

Choi Ji-woo, Kim Kyung-eun, Go Hyun-jung, Ha Ji-won, and Shim Eun-ha were selected among the Top Ten Artificial Beauties.

Koreans are truly odd — if you're holding a beauty contest, just hold a beauty contest. Why create an "Artificial Beauty" category?

I know your country's cosmetic surgery industry is advanced, but don't insult people like this!

This caused many of these "award-winning" fans to express dissatisfaction and protest online.

"Mr. Cheng, hello,

I've also heard of your reputation."

Kim Hee-sun smiled and said.

Her skin was extremely fair and luminous, giving a strong impression of delicate vulnerability.

Her appearance was also very approachable; her face shape was a pleasing, slightly narrow oval.

She gave the impression of gentle, quiet grace — serene as a painting, peaceful as time, extremely pleasing to look at.

But Cheng Chen immediately noticed that her face had undergone at least three surgical procedures.

Of course, cosmetic surgery is very popular in Korea.

To put it exaggeratingly, their attitude toward cosmetic surgery is roughly like how Chinese people view perming or dyeing hair.

Cheng Chen had glanced around earlier; nearly every woman at this banquet had undergone surgery.

Even a high school girl, unknown who had brought her and dressed in a school uniform, had had surgery on her eyelids and chin.

In Korea, over 40% of people have undergone one to two cosmetic surgeries.

And over 60% of the population express a desire to undergo cosmetic surgery.

In fact, many parents treat cosmetic surgery as a reward to motivate their children to study harder.

Because Koreans essentially all belong to the "Appearance Association."

They place extraordinary emphasis on appearance, striving for perfection in every aspect, especially women.

For Koreans, paying attention to one's appearance is a sign of civility and politeness.

In social interactions, a clean and attractive appearance is a form of respect for others.

It also leaves a good impression on others.

If one presents a sloppy appearance, it causes discomfort in others.

Even without formal rules, this cultural habit has deeply embedded the pursuit of beauty into the bones of Koreans.

Therefore, maintaining a good appearance is not for oneself, but to respect others.

Even more incomprehensible is another crucial reason driving Korea's cosmetic surgery industry…

Korean society is relatively competitive, and people strive for better employment opportunities, romantic relationships, and social status.

While improving their overall abilities, Koreans also pay special attention to their appearance.

Good control over one's physique is seen as an expression of strong self-discipline.

And self-discipline is one of the requirements of workplace spirit.

Thus, a beautiful and refined appearance is an embodiment of a Korean's workplace spirit.

During job interviews, appearance becomes one of the key factors Koreans consider.

A Korean employment website surveyed 1,264 job applicants.

Among them, 98% of job seekers believed appearance greatly impacts employment.

Moreover, 94% of interviewers stated they consider appearance when hiring new employees.

This has created a common social phenomenon in Korea—employment cosmetic surgery.

…

After exchanging pleasantries with Kim Hee-sun, Park You-ryeol introduced others to Cheng Chen.

For this banquet, Park You-ryeol invited many people, mostly individuals connected to Korea's entertainment industry.

Among them were several Korean female idols and models, but the only universally recognized woman in the room was Kim Hee-sun.

This confirmed for Cheng Chen that Park You-ryeol likely had chaebol backing.

It also further proved that Korean female idols hold genuinely low status domestically.

Watching Kim Hee-sun dance among a crowd of older men, Cheng Chen suddenly remembered the rumors linking her to Cheng Long…

The banquet did not last long; it ended around ten o'clock at night.

Cheng Chen declined Park You-ryeol's invitation for "men-only" activities and insisted on returning to the hotel.

Back at the hotel, after washing up, Cheng Chen took out his guitar.

For this Korea concert, Cheng Chen planned to imitate the Japan leg and perform several new songs directly.

Still in Korean—respecting the market!

The first song was the heartfelt 2016 hit "If You," which swept across Korea's streets and alleys.

As one of the few tender songs by BIGBANG, this track was adapted into multiple language versions.

At the same time, BIGBANG won the 2016 July Annual Singer Award in the music streaming category for this song.

This shows just how popular the song was originally.

The song features sorrowful lyrics and delicate melodies.

It possesses the quiet charm of a song gently sung.

Simply by lightly strumming the guitar, one can convey the entire feeling of the song.

For Cheng Chen, this was perfect—after all, most of this group's songs are high-energy dance tracks.

He couldn't endure performing such songs for two or three hours straight at a concert.

The second song was the theme song of Cheng Chen's favorite Korean drama.

It was also the Korean drama Cheng Chen planned to quietly remake—Reply 1988.

Reply 1988 primarily tells the story of five families living in Ssangmun-dong, Dobong District, Seoul, in 1988.

It portrays warm family bonds, traditional love and friendship among ordinary neighbors.

No gimmicks, no idols, no abortions, no fights, no melodrama.

No brothers turning against each other, no sleeping with a brother's girlfriend, no leukemia, no car accidents, no hated female second lead…

Only an authentic coming-of-age script, unlike a TV drama made up out of thin air.

It feels more like a portrayal of real life—just one set around 1988.

It is real, touching, joyful, and full of love, making viewers laugh repeatedly while often bursting into tears for its characters and sincerity.

The love parents in the alley show their children goes without saying—so many moving scenes.

The children, though mischievous and sometimes terrible students,

some unable to care for themselves, some unable to express themselves, some cold toward their parents…

Yet as time passed, they gradually grew up.

They came to understand their parents' hardships and resilience, and learned to quietly prepare surprises or care more deeply for their parents' feelings.

When Deok-sun's grandmother passed away, the children saw their father pretending everything was fine among relatives, and felt furious.

Later, after all guests had left and the eldest uncle arrived, the father and his siblings finally embraced and wept uncontrollably.

At that moment, Deok-sun understood:

Adults, they hurt too…

Regarding this plotline, many people at the time adapted it into short video clips.

It makes people's eyes well up with tears.

If in Japanese dramas Cheng Chen's favorite is *Nonnatural Death*, then in Korean dramas none compares to this one, *Reply 1988*.

And the new song Cheng Chen will release at this concert is the theme song of *Reply 1988*, *Don't Worry*.

"You, don't worry about anything.

Let's sing together.

All your sad memories, you.

Buried deep within your heart.

The past is past.

That's what it means…"

Cheng Chen held his guitar and sang slowly.

The melody of this song carries a slightly retro feel; the opening is gentle.

It seems to tell a story, comforting the heart, while the chorus is comparatively powerful, releasing emotion.

Every time *Reply 1988* reaches an emotional moment, they play this song.

For instance, when Dong Chengri's mother passes away:

"When does Ah Ze miss his mother the most?"

"Every day, every single day, he misses his mother."

Also, after Ah Ze's father gave an interview, he said he felt it would be better for Ah Ze if he died and left his mother behind.

When depicting emotions that many adults cannot voice but constantly express, this song is often heart-wrenching.

Of course, apart from the drama, this song also moves listeners deeply on its own.

Besides this song, Cheng Chen also plans to bring to this stage the song he didn't perform in Japan due to time constraints.

"The moon rises at dawn, the performer applies makeup.

I paint my brows, don the phoenix crown with a rainbow robe.

The water sleeves dance lightly, the long song smells like wine.

The long song smells like wine.

Night is not yet over, the huqin's sound rises.

The strings are warm, people gather, the moon leans against the wall.

One melody reveals how many truths.

National Beauty and Heavenly Fragrance…"

Yes, Cheng Chen also wants to unveil this song, *National Beauty and Heavenly Fragrance*, at this concert.

Similarly, this is also a song that harmonizes opera and pop music.

Because of Cheng Chen, some songs of this kind have appeared on the market.

But due to quality issues, they are often criticized.

Some say this is an independent musical form, vastly different from opera.

It's like the difference between a horse and a mule, or between rap and shout-singing.

"So don't talk about promoting opera art—people are enjoying it just fine on their own; you don't need to promote it, the two have nothing to do with each other.

Besides, all you ever do is take from opera art, never give back.

Of course, this ties into the second issue: not understanding opera!"

"At the top floor, in other words, unable to absorb, or if absorbed, unable to utilize.

All sorts of low-level mistakes, even mispronouncing characters.

What kind of cultural literacy is this? One sentence: think too much, understand too little.

Regarding opera art, there is mostly curiosity and misunderstanding, lacking true understanding."

About tradition versus non-tradition, there is constant arguing in Cheng Chen's Weibo comments:

"Take Zhao Jiping as an example—his soundtrack for the TV drama *The Grand Mansion*.

He perfectly fused Peking opera music with symphonic music.

He was classically trained; his understanding of Western music goes without saying.

After graduation, he became a conductor at a model opera troupe.

So he also has deep knowledge of opera music.

To create something that blends local and foreign, East and West, ancient and modern,

You must grasp both hands, and make both strong.

Otherwise, like now, it becomes self-indulgence for a few fans and music novices.

To professional musicians and opera audiences, it's a monstrous, incoherent mess."

Of course, some oppose, some support—for example:

"I welcome this kind of fusion.

It shows more and more people are paying attention to our traditional culture.

This is beneficial for the spread of opera.

But this fusion must be based on respect for opera.

Creators must not only be familiar with pop music but also understand opera to some degree.

Not just add something incoherent for shock value—like Cheng Chen's *Ten Thousand Frontiers* is a typical template…"