It is a song of the high energy genre that gives off pleasant energy when 12 people gather.

The lyrics are about the feelings of love but wanting to bounce through the characters of the members.

Hee-jin says, "I don't want to give you my love easily," and Hyun-jin honestly confesses the girls' expressions, saying, "I'm a pretty girl, so I'm not playing hard to get, but I'm careful with men."

The melody and colorful track composition that pour out at the fast bpm makes you focus on the music without a break.

It is an uptempo electronic pop song with a story of pursuing free and individualistic self, and the funky and plump bass line reminiscent of the Midnight Festival is impressive.

The song, which began with a charismatic introduction, resembles a girl of the month whose key change is about to change in the chorus to a witty major style.

The sword dance of Korea is seen in various documents, including "The History of the Three Kingdoms," as the sword dance of the Silla Dynasty's Guanchang is Hyoshiim.

However, during the Goryeo Dynasty, the appearance of Guanchang was replaced by a mask, and during the Joseon Dynasty, the female Guan Changmu was recorded, so the sword dance, which was a brave dance, seems to have changed into an elegant Yeo.

After the Silla Dynasty, it was passed down or destroyed by government officials who had been subjugated to the royal court and government offices, and it was eventually established in Gwonburn nationwide.

In Gyeongsangnam-do, Jinju, Tongyeong, and Dongnae were handed down from Jinju, but they disappeared with the abolition of Kwon Beon, but they have been restored from Jinju to this day.

Some of the Ganghwa Durejil songs were influenced by agricultural songs from the Yellow Sea (Yeonbaek region) compared to inland areas.

The sound of durejil continues to be a solo song if the fish is narrow, and if it is wide, two or more yongdurees are installed to sing back and forth. In addition, the sound of planting rice is also sung in the case of narrow rice paddies, while singing in the wide rice paddies while humming in solo.

The musical instrument, commonly known as the instrument used to play music, has been used in traditional music since the Three Kingdoms Period, and about 60 types of musical instruments have been introduced, including unique instruments from Korea, and foreign instruments imported from China, the West, and other regions. As Korea was adjacent to the northern continent, Chinese and Western music was already introduced during the Three Kingdoms Period. Especially after Silla unified the three kingdoms, Tang Dynasty music was imported.

By the Goryeo Dynasty, Song Dynasty folk music and aak were imported, and by the time of King Yejong's reign, Ahak was introduced, and it still came in large quantities. These instruments were classified according to the main ingredients needed to make musical instruments in "Jeungbo Munheongo," and in particular, the musical instruments used for the unique traditional music, as well as the instruments used for Ahak and Dangak.

By the Japanese invasion, national sovereignty was lost and court musicians became free men. Of course, unlike the heads of government-affiliated musical instruments who made Jeongak-centered instruments, Sanjo-centered instruments were being produced in the private sector. This sanjo instrument can be said to be for individual performance, making it more cheerful and easier to transport than a group-oriented Jeongak instrument. During the Japanese Colonial Period, Kim Myeong-chil was named in Jeonju, and Kim Boong-gi (Kim Hak-gi) was named in Jeongeup.

After Korea's liberation from Japan's colonial rule, Kim Myeong-chil's technique was followed by his son Kim Gwang-ju, who became the No. 42 instrument master in 1971. He moved to Seoul to teach Choi Tae-gwi, Go Heung-gon, and Lee Young-soo before passing away in April 1984. Originally, Yi Yeongsu was designated as a cultural asset of Jeollabuk-do with the functions of Kim Bungi in Jeongeup, but he also received the functions of Kim Gwang-ju.

The musical instrument director originally thought he would make all instruments, but now he is divided into a drum, a jango, a gong, a gong, a jing, a salted fish, a flute, a gayageum, a geomungo, and a haegeum.

Byeolsingut refers to a rite to pray to Seonghwang (Seonang), the guardian of the village, every three, five, or ten years for a good harvest of peace and farming in the village.

About 500 years ago, Hahoe Village in Andong, North Gyeongsang Province, performed a byeolsingut to Emperor Mujinsaeng on the fifteenth day of the New Year (December 15) every 10 years, and played mask games to entertain him along with the exorcism.

Hahoebyeolsingut Talnori consists of eight madangs of Mudong Madang, Jujumadang, Baekjeong Madang, Halmi Madang, Pagye Seung Madang, Yangban, Seonbi Madang, Honrye Madang, and Sinbang Madang.

Before the game begins, the day after the beginning of the first lunar month, if you go up to the cathedral, grab the descending pole with the sugar droplets, and lower the Holy Spirit, you move the sugar droplets to the Seonghwangdae and come down from the mountain. If Seonghwangdae and Naerimdae are built against the eaves of a verb, the play begins.

The characters include Ju Ji-seung, Gaksi, Jung, Yangban, Seonbi, Cho Rang-i, Imae, Bunae, Baekjeong, and Halmi. The book is based on ridicule of Pagye-seung and biting satire and interpretation of the nobleman.

Hahoe Byeolsingut Talnori has a ritualistic nature. In particular, Gaksital is believed to be a substitute for Seonghwangsin, and only Byeolsingut is to be seen. When taking it out, the ritual must be performed.

The masks used for the game were made of 11 kinds of 10 types of duckwood, including jija mask, and the original was designated as Hahoe mask and Byeongsan mask (National Treasure No. 121) in 1964 by applying lacquer and pigments in two or three layers.

The accompaniment of mask play is performed by a pungmul player with a gong-gwaengi at the center, and dance moves with a little bit of dance moves mixed with improvisation and routine movements.

Hahoe Byeolsingut Talnori is characterized by the lack of a back-to-back party enjoyed by burning masks, and is valuable as a valuable source of information on the origin and origin of mask dramas in Korea.

The curfew, which began on September 8, 1945 under the U.S. Military Government's decree No. 1 and was enforced for 36 years and four months until its abolition on January 5, 1982, was called a total ban on people's passage from midnight every night until 4 a.m. the following day, and was also called curfew and night labor.

At first, it was only implemented in Seoul and Incheon, but after the Korean War, it expanded nationwide from April 1954 and was banned from night traffic from 10 p.m. to 4 a.m.

In 1961, curfews were reduced from 12 p.m. to 4 a.m., Jeju in 1964 and Chungbuk in 1965 were excluded from the curfew, but the curfew was maintained until 1982.

Changdeokgung Palace was the second royal villa built following the construction of Gyeongbokgung Palace in 1405. It was the principal palace for many kings of the Joseon dynasty, and is the most well-preserved of the five remaining royal Joseon palaces. The palace grounds are comprised of a public palace area, a royal family residence building, and the rear garden. Known as a place of rest for the kings, the rear garden boasts a gigantic tree that is over 300 years old, a small pond and a pavilion.

The palace gained importance starting from the time of Seongjong, the 9th king of Joseon, when a number of kings began using it as a place of residence. Unfortunately, the palace was burned down by angry citizens in 1592 when the royal family fled their abode during the Japanese invasion of Korea. Thanks to Gwanghaegun, the palace was restored in 1611. Even today, it houses a number of cultural treasures, such as Injeongjeon Hall, Daejojeon Hall, Seonjeongjeon Hall, and Nakseonjae Hall.

Changdeokgung Palace’s garden behind the inner hall, called the Secret Garden, was constructed during the reign of King Taejong and served as a resting place for the royal family members. The garden had formerly been called Bugwon and Geumwon, but was renamed Biwon Garden after King Gojong came into power. The garden was kept as natural as possible and was touched by human hands only when absolutely necessary. Buyongjeong Pavilion, Buyongji Pond, Juhamnu Pavilion, Eosumun Gate, Yeonghwadang Hall, Bullomun Gate, Aeryeonjeong Pavilion, and Yeongyeongdang Hall are some of the many attractions that occupy the garden. The most beautiful time to see the garden is during the fall when the autumn foliage is at its peak and the leaves have just started to fall.

Though it has been treasured by Koreans for centuries, Changdeokgung Palace was recognized as a World Cultural Heritage site by the UNESCO World Cultural Heritage Committee in December of 1997 during the committee meeting in Naples, Italy.

Deoksugung Palace is unique among Korean palaces in having a modern seal engraving and a western style garden and fountain. Medieval and modern style architecture exists together in harmony in Deoksugung Palace. The Changing of the Royal Guard can be seen in front of Daehanmun (Gate) and is a very popular event for many visitors. During the Joseon Dynasty, the royal guard was responsible for opening and closing the palace gate as well as patrolling around the gate area. Outside the palace is a picturesque road flanked by a stone wall which is much loved by visitors.

Originally, Deoksugung Palace was not a palace. The Imjin War (the Japanese invasions in 1592) left all the palaces in Korea severely damaged. When King Seonjo (the fourteenth king of the Joseon Dynasty) returned to Seoul from his evacuation, the primary palace Gyeongbokgung Palace had been burnt to the ground and other palaces were also heavily damaged. A temporary palace was chosen from among the houses of the royal family. This is the origin of Deoksugung Palace. King Gwanghaegun (the fifteenth king of the Joseon Dynasty) named the palace Gyeongungung, formalizing it as a royal palace. Since then it has been used as an auxiliary palace by many Joseon kings. In 1897, Emperor Gojong (the twenty-sixth king of the Joseon Dynasty) stayed here and expanded it. The modern buildings such as Seokjojeon (Hall) were constructed during this period. In 1907, the palace was renamed Deoksugung.