In 2019, Ji Byung-soo's dance to a Son Dam-bi song on KBS 1TV's National Singing Contest (a long-running community talent show) turned him into the household nickname "Haldambi."
He died of old age on October 30, 2024, at the National Medical Center, and his life and videos continue to circulate among people.
This piece treats his death not merely as news, but as an entry point to examine where generations and online culture meet.
Haldambi, a Dance That Raised Broader Questions
A simple beginning.
In March 2019, a television camera focused on a small stage in Jongno, downtown Seoul.
Standing there, Ji Byung-soo introduced himself as "Jongno's dandy" and began to perform.
His dance to Son Dam-bi's pop hit spread quickly across broadcast and online platforms.
His moves broke from traditional images of aging, and that is why people remembered him.
Consequently, the name Haldambi (a blend of "hal-abeoji," meaning grandfather, and the singer Son Dam-bi) was born and reproduced across memes and short clips online.
It was more than a fad.
Ji's life story was not ordinary.
He was born in Gimje, North Jeolla Province, the youngest of eleven siblings. He briefly attended Hanyang University to study trade but did not finish his degree.
He worked in construction, ran a boutique shop in Myeong-dong, and owned a bar in Sinchon; his path included many different chapters.
Moreover, training in traditional dance and overseas performances gave him stage manners that showed in his movements.
He danced not as a one-off joke but as an expression of a long life.
He became a symbol.
The internet consumed and repackaged his clips.
In that process, he grew beyond a TV contestant into a symbol that blurred generational boundaries.
Short video clips turned into memes and were repeatedly watched across platforms.
The nickname Haldambi stuck as a coined term combining an older person's identity with a pop star's name.
Images and clips were cited in many contexts and reshaped his public image.
However, a few photos and viral videos cannot capture the whole person.
The positives are clear.
His appearance sent an encouraging signal.
First, the Haldambi phenomenon challenged fixed stereotypes about aging.
He demonstrated that enjoyment of pop music and dance does not have an age limit.
Meanwhile, his presence exposed the diversity of urban life.
Ji represented someone who embodied both traditional values and modern tastes, creating touchpoints for multiple generations to relate to him.
Highlight His clips prompted scenes where young and old enjoyed the same content.
As a result, online interaction expanded and public views toward older people shifted, at least somewhat.
Criticism exists too.
There is, however, a problematic perspective.
First, internet culture often strips away a person's context and reduces them to an image.
Haldambi's fame sometimes obscured the harder parts of his life and the medical or financial realities behind the smile.
Second, the spread of a meme can carry ridicule or objectification.
Trends spread fast, and that attention rarely turns into long-term support.
Highlight If attention remains shallow and repetitive, the real person can be exhausted and forgotten.
In this respect, we need an ethic that prevents treating old age as mere comic relief.
Look at the wider social context.
This is both an individual story and a social question.
South Korea is facing population aging along with challenges in elder care, pension security, and social safety nets.
When institutional support for pensions and care is limited, a single happy moment on screen cannot hide the larger reality.
Moreover, online platforms amplify emotions and attention instantly.
On the other hand, that spotlight is fleeting and quickly replaced by the next viral item.
Weighing two sides.
Place the positives and the critiques side by side.
From an affirmative view, he was a cultural bridge.
He sparked conversations across generations and was read as an example that brought energy to older people's lives.
For instance, younger viewers found older people more approachable through his clips, and interest in new forms of communication with older generations grew.
That effect broadened cultural inclusion.
Conversely, critics point to the problem of consumption.
Viewers often watch short clips while ignoring context such as pain, finances, or family relations.
Looking at other cases, some public figures or vulnerable people have gained solidarity through platforms, but that attention rarely leads to institutional change.
Therefore, expecting lasting social reform from a single viral moment is unrealistic.
What is his legacy?
His death leaves questions behind.
Ji Byung-soo's passing is not merely the end of one life story.
His videos and story remain in digital archives, waiting for future interpretation.
However, the fact that his funeral was handled as unclaimed raises questions tied to our social safety nets.
We should reflect on how closely we looked at the insecure conditions behind a laugh or a moving clip.
Photos let us recall his expression and attitude.
Yet the moment captured in a picture is not the whole story.
Actions to take.
So what should we do.
First, public interest should become sustained solidarity.
Short-lived trends need to lead to policy debates and stronger welfare, not just temporary attention.
Second, media creators and platforms must assess the risk of objectification.
There should be standards to protect a person's dignity as content spreads.
Third, as viewers we should examine our own habits.
After a quick laugh, ask about the life behind the clip and look for ways to support lasting change.
Concluding remarks.
Now the main points are summarized.
Ji Byung-soo was more than an internet meme.
His stage symbolized a meeting of self-expression in old age and online culture, a meeting that invited both celebration and concern.
In short, while we shared laughter and moved by the same videos, we must also examine the institutions and care systems that shape older people's lives.
After reading this, what did you think?
