Only Friends Music Ep2 (2/2)
Part one covers the first half of EP2, or you can find links on my pinned comment.
This is a series of posts taking a closer look at the music of only friends. Reminder, Playing with the music is like body language, it moves with the conversation. Verbal says something either through lyrics or something like a song title.
Warning, this is long, but a lot of it is lyrics and music players.
Last song of [2/4]
Song: Alright Come On by Sonic Spark
Type: Vocal
Scene: Friends go wakeboarding
The friends and Top go wakeboarding and Alright Come On sounds like a party song, something to hype everyone up. Lyrics start when Top goes out on the water,
Oh you're so pretty and mean
It ain't what it seems
But you really stand out against the lined up faces
They edit the song so the lyrics pause, and we get Mew correcting Cheum, saying Top isn’t his boyfriend. The lyrics start again when April is out wakeboarding
When are we going to be alone
I guess the fight is on
A knock out for a kiss in the empty spaces
At that line, Top turns to look at Boston, who had been staring at him.
[3/4]
Song Blue Skies by JAKE $ING
Scene: Top is helping Mew put together a table
Type: Verbal/Playful
In the show, the song has no lyrics, but it does use the song as a way of expressing the emotion, and beats of the scene. The drum beat starts after Top says, “so that you can think of me when you look at it”. And continues while Mew offers the cookies, and Top tries to get Mew to feed him. The rest of the instruments come in after Top says “I've been doing this for so long that my arms are tired. Can’t you see?” Everything but the drums pauses when Mew picks up a cookie, and there are three bass drum beats like a heartbeat before Mew asks “How about I feed you like this? If you want it come and get it”
Keyboard and guitar start up again, Mew puts the cookie in his mouth, a snare beat as Top moves to get the cookie, and the song continues in full from there. It dissipates along with the mood when Mew pushes Top away after he goes in for a kiss, yelling “You can’t do that”
Here are the lyrics, not in the show, (Translated lyrics in [brackets]. Used google translate, so I left the original Korean.)
Wow You look so perfect
I’ll hit the ground
If you keep on looking at me like that
And you
Don’t know what you do to me
And I
Would probably go and end it all If you found out
No words can explain what
I’m feeling
Being with you feels as easy as breathing
And right when I do you just
Go on and steal it
Am I out of my mind?
You got me so high
Being with you feels like blue skies
[I'm bored day after day without you] 너 없이 하루 하루 지루해
[I can't think when I see you] 난 널 보면 생각 잘 안돼
[Because you are so beautiful] 아름다워서
You got me so
[Time goes so fast when I'm with you] 너랑 있을때 시간이 너무 빨리 가
[Now when I see another girl] 이제는 딴 여자 볼때
Out of focus, [I can’t see] 보이지 않아
[Only you] 오직 너 뿐이야 (okay)
[Never turn my gaze] 내 시선은 절대 안 돌려
[From the first moment I saw you] 처음 본 순간 부터
It was clear skies from day one got me so high
[Floating] 붕뜬 spaceship, we in that ufo sight (we in that)
I’m falling fast for you, no parachute
[Leave now] 이제 떠나버려 lonely life
'Cause I finally found something true
Lyrics tell of falling for someone, but being horribly afraid to let it be known, I know I’ve gone off about Mew needing control, and I am thinking it’s because of fear. Top has so much more experience than him, and @VivienneActing just tweeted that Mew may be Demi, so this might be one of the first times Mew is feeling like this. That’s why he needs to control the beats of the relationship, or Top might set his own pace again like he did at the beginning. I do think Mew has feeling for Top, but he might not trust Top enough to let him actually kiss. Especially as their first kiss escalated so quickly beyond Mew’s control
While the song talks about it being easy to be with a person, and being so high, it also talks about falling without a parachute. Emotions both new, and stronger than he’s ever known. A mixture of euphoria and fear.
For further reading on Mew thoughts from @rocketturtle4:
More specific, but slightly older (EP3 and before writer’s Demi tweet) here.
And more general, but more recent (EP4) thoughts on communication here
The Negotiation scenes:
This section is a bit different because we get three scenes of negotiation in a row, and just watching how differently they use the music. Especially with Sand and Ray's scene at the end.
Song: Look At Me Closely by Blue Topaz
Scene: Top asks to stay the night at Mew’s place, after the cookie.
“Can I stay the night here?” Top starts the negotiation as the drums of Look at me closely start. Mew puts up a boundary, saying Top can stay, but sleep on the sofa. Top pushes at the boundary, testing if he can get more, “I didn’t get out of line (before). Don’t you trust me?”
Side note, look at everything someone says if they say this very closely. Are they pushing you to do something you’re not comfortable with?
Back in the scene, Mew remains firm, reminding Top that they have reset, this is their first sleepover. That “We are not a thing.” The guitars come in, without the bass, but they continue their talk. Mew stays firm in what he wants until Top relents, only asking for a blanket, and the music fades.
Song: Running Around In The Dark by Ryan James Carr
Scene: Boston and Nick talk about their relationship
Running around in the dark- Nick fumbling around in the dark trying to be more than just a “favorite”.
Nick starts with "What are we to each other?" Boston counters with giving him options, "Fuck buddies, or Friends with Benefits?" As Nick thinks, drums start playing, the negotiation has started.
The bass comes in while Boston explains, fuck buddies don’t care what the other does, while friends with benefits are friends but they sleep with each other. The music pauses when Nick asks "And what am I to you?"
"What is the matter with you? Don't tell me you're into this already. If so, I'll stop. I hate dramas." Boston has completely over ridden the negotiation, using his trump card of stopping completely if Nick keeps pushing. An low, droning organ song plays as Nick backtracks, "I'm not being dramatic. I asked out of curiosity." Higher piano notes come in right before Nick chooses fuck buddies, trying to set a boundary. Boston immediately pushes in, scooting closer to Nick, trying to appease him. "We can push our status a little farther"
The music just sounds sad, slow, with a distant sounding piano that doesn't quite have a melody.
Song: unknown
Scene: Sand and Amm outside the bar
Next scene is with Sand, Amm, and Ray outside the bar. They play with the music again in a way I really liked. Sand and a girl walk out of the bar, Lost in a dream is playing, steady rock, confident. Stops when Ray shows up
While Ray and Sand are talking we get a drum, stopping with a Bass slide at “Have you known each other long”
Sand replies and we get a bassline and drums back as Ray talks to Amm, then music pauses “Come to my place instead.” And music comes in with everything, drums, bass, guitar, Ray is dominating the negotiation. It goes on until Sand pulls Ray away from Amm. We get a bass drum start up at Ray begging Sand to go with him (With or without Amm). Cymbals and snare join as full drum beat at “You’re such a pesterer” And Sand apologizes to Amm, the beat pauses for her to scold him. She leaves then we get the full song. It's one of my favorite music scenes, do check it out, if you have time.
Song: อย่าดีกว่า (Better Not) by Micro
Scene: Sand and Ray driving to Ray’s house
Type: Vocal
Next scene, Sand and Ray are going to Ray’s. A Micro song plays i the background of their conversation. Ray sings the Chorus:
I better not, Just forget it, I should forget, forget it,
Keep telling myself that I should not.
Whole song is about having a secret crush on someone and watching them, but the part that is actually louder, that Ray sings along to, is about not starting, about forgetting about the whole thing. EP4 Spoiler: So, we know who this was about now. And it’s interesting to me that Ray is singing this song with Sand in the car. Like he knows he still has an attachment to someone else, but being with Sand feels good. That the old feelings have no hope in being reciprocated so he should let go.
[4/4]
Song: Halo: sing me to sleep
Scene: Ray and Sand talking at Ray’s house
Type: Vocal
Ray and Sand at Ray’s house, as Sand offers to be Ray’s friend there is a soft acoustic guitar. Until Ray starts playing Sparkle Shirt Shiny Shoes on the record player. It’s funky and just serves as background music. But, There is a sound, it’s like a head rush, when Ray asks if Sand has ever been hit on by a guy.
When Sand responds “If we click, I’m open.” Halo: Sing me to sleep starts, and plays until Ray lights his cigarette with Sand’s.
There are no lyrics in the show:
Broke, I can’t afford to let you in
But we’re bad, so what’s the harm in one more sin?
Take off your halo, you’re beautiful
I don’t care if it tears me apart
We couldn’t let go, from the get-go
I think we’re past tryna to hide who we are
Baby, I don’t mind you calling
I’m still awake, come on by
Say the things you shouldn’t be saying
I don’t want you to act
Like you still have that halo, halo, got that halo
Like you still have that halo, halo, you should let it go
Don’t stop, I love it when you touch my skin
I know it’s bad, I don’t care if the walls are caving in right now
I know it’s bad but I don’t care, I don’t care
I need you to kill off my lonely nights
Otherwise I’ll just be dead inside
I can’t keep pretending you don’t exist
Hate the lies, you know I can’t resist, yeah
(chorus)
Sing me to sleep, I need you, want you
Don’t wanna dream, just lay ‘til darkness
Sing me to sleep, I need you watching
Don’t wanna dream, just lay ‘til darkness
Ray and Sand are already falling, even if they don’t admit it to each other or to themselves. They can’t afford to let the other in, but they can’t let go either. Sand tries in vain a few times in the next episodes, but he can’t, the puppy dog eyes melt him.
Ray needs Sand to kill off his lonely nights. “I don’t mind you calling, I’m still awake, come on by, say the things you shouldn’t be saying” Minor EP4 spoiler, Ray has Mew as his emergency contact, will drop everything to go to him. I could see Sand wanting to be that person, Ray’s Emergency Contact, even now, in this moment, Sand cannot keep his eyes off Ray.
Song: A Heavy Load by Sven Karlsson
Scene: After the smoky kiss
Type: vocal
Music starts when Ray asks "Open enough for someone like me?" and pauses while they talk about if they can be friends if they continue. Then comes back after Sand agrees, after Ray puts out his cigarette, the lyrics play:
Don’t come round and waste my time
A generation of my time
There is nothing we can do
To stop the plague from breaking through
It mirrors Halo, walls are caving in, the plagues breaking through. Lyrics continue, not in the show:
There’s a heavy load upon my back
No way to throw it off
For a second I believe it’s gone
I’m just a fool out of luck
Standing on the open road
Always with the heavy load
Don’t let me carry it along
I think my head is full of stone
There’s not a whole lot I can do
When all my visions have come true
There are times when everything feels great
I’m on top of the world
But eventually my spirit breaks
Can’t get the final word
(Chorus)
Don’t come round and waste my time
A generation of my time
There is nothing we can do
To stop this plague from breaking through
They’re just beginning their relationship, a relationship that will carry the weight of their loneliness, there could be more positive songs, just like how Nick and boston’s start with Lurking TIger, Mew and Top’s start with Always Always and Check for Pulse.
It’s interesting to note that the hints the music is giving us about the characters' emotional arcs are paying off in the following episodes, despite the characters lack of self awareness in this episode. These songs are from episode 2, and as we have continued through episodes 3 and 4 more of our characters' arcs and feelings have been revealed to us (and sometimes themselves). Ray and Sand’s progress and self awareness have paid off the lyrics we see in this episode about feelings that need letting go of (Ray and Mew) and Sand and Ray’s combined loneliness and desire for an Important Person to share their loads. Mew has continued to struggle with control of his own desires and boundaries and we have seen how his feelings are overcoming his fear and desire for control. Though unlike Ray and Sand he seems to be lacking self awareness. Top continues to feel out the cracks in Mew’s boundaries (though whether he’s pushing through them out of a desire to be more or a desire to take and leave remains to be seen). Nick continues to try to get more from Boston, but most of their songs have not had words. They’re all going to boil over at the start of EP3 when we get a hip hop song begging for love. But that is in the next post!
Thank you so much, @rocketturtle4 and @shouldiusemyname for everything, editing, helping organize, and putting up with me.
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Hi! Could you translate jelly by NANA/19 for me? It’s a bit obscure, so the only lyric video I could find is quite blurry and can only be accessed in full quality with a Facebook account.
Thank you!
너를 보면 난 또 그 바다에
다시 잠기는 것만 같아
나를 보던 너의 그 눈빛은
꼭 한여름 밤만 같아
when i see you i feel like i'm
sinking into that sea again
the gaze that you looked at me with
is just like a midsummer night
끈적끈적 나를 당기던 너의 입술은
녹아내려 아이스크림처럼
난 너의 sweets 쉿
marshmallow 불빛
midnight highway
your sticky lips which tugged at me
they melt like ice cream
i'm your sweets, hush
marshmallow light
midnight highway
oh jelly my candy just come for me
don't let me down
oh cupcake my lover
더 다가와 날 안아줘
oh jelly my candy just come for me
don't let me down
oh cupcake my lover
come closer and hug me
알아 지겨웠지 열대야 벗어나게
해주던 건 넌데 (바람처럼)
your chocolate cookie pie
아 나 봤어 네가
삐뚤어지게 웃던 걸
왜 그래
i know it's boring, you're the one who let me
break free from the tropical night (like the wind)
your chocolate cookie pie
ah, i saw that you
were crookedly smiling
what's the matter?
oh jelly my candy just come for me
don't let me down
drive with me
oh cupcake my lover
더 다가와 날 안아줘
oh jelly my candy just come for me
don't let me down
drive with me
oh cupcake my lover
come closer and hug me
oh lolli my sweetie
내 세상에 머물러줘
fly with me
oh honey my darling
허무한 네가 난 좋아
oh lolli my sweetie
stay in my world
fly with me
oh honey my darling
i like the futile you
알아 비누방울처럼 터질 텐데
너 말곤 다 지루해
caramel처럼 숨 막히는 night
i'm dreaming paradise
너랑 있고 싶어
i know that just like a soap bubble, it will burst but
other than you, everything is boring
like caramel, a breathtaking night
i'm dreaming paradise
i want to be with you
하지만 퉁퉁 부은 내 마음
너한테 들키긴 정말 싫어
but my swollen heart
really doesn't want to be caught by you
oh jelly my candy just come for me
don't let me down
drive with me
oh cupcake my lover
더 다가와 날 안아줘
oh jelly my candy just come for me
don't let me down
drive with me
oh cupcake my lover
come closer and hug me
그래 봄처럼 너도
아무렇지 않게 지나갈 거란 건
넌 나의 마카롱 다쿠아즈 milkshake
헤엄쳐 날 숨쉬게 해줘
yeah just like spring, you too
will pass by like it's nothing
you're my macaroon dacquoise milkshake
swim and let me breathe
notes:
this song is saur cute thank you for sharing it with me! added to my liked songs already :)
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땅고 빽사푸사에 관한 짧은 고찰
노자 도덕경 42장에 "도생일 일생이 이생삼 삼생만물(道生一 一生二 二生三 三生萬物)"이란 구절이 있다. 이를 땅고 춤 원리에 구체적으로 적용하면 '도생일 = 중력에 의한 작용/반작용에 의해 척추가 저절로 펴지는 것 = 서기'이고 '일생이 = 무게중심이 양발에 각각 온전히 실리는 것 = 걷기'이고, '이생삼 = 척추를 중심으로 중심축이 회전하는 것 = 히로(Giro)'로 볼 수 있고, '삼생만물 = 히로에서부터 모든 스텝이 파생돼 나옴'으로 해석할 수 있다고 봄.
예전에 쓴 '지구 바람 별 땅고' 책에서부터 현재까지 일관되게 땅고의 기본이자 핵심은 여덟 걸음 살리다(Salida)가 아닌 히로라고 우기는 중임. 특히 앞-옆-뒤-옆을 단순 반복하는 여성 스텝이 엄청 중요하다. 한국에선 "back-side-front-side" 앞 음절을 따서 일명 "빽사푸사"라고도 한다.
잠깐만 생각해 봐도, 앞-옆-뒤-옆으로 움직일 땐 척추를 강하게 비틀어야 하기 때문에 기본적으로 끄루싸다(Cruzada)가 내장돼 있다고 할 수 있다. 시계/반시계 방향으로 이동하다 방향을 바꾸면 오초 아델란떼/아뜨라스가 되고, 볼레오, 간초, 사까다... 등등의 거의 모든 요소가 히로에서 파생돼 나왔다고 해도 과언이 아니다.
예전에 참가한 땅고 수업에서 왜 하필 여성 스텝이 앞-옆-뒤-옆으로 굳어졌을까에 관해 얘기하는 걸 들었는데 설명이 복잡해 잘 이해를 못했다. 사실 나는 이에 관해서도 나름의 근거를 갖고 확신하는 바가 있다. 답은 굉장히 간단하다. 앞-옆만을 반복하면 점점 원 중심으로 모이려 하고, 뒤-옆만을 반복하면 점점 원 중심에서 멀어지는 경향이 나타나기 때문. 각각 동작을 눈 감고 해보면 좀 더 분명히 알 수 있다. 반면에 앞-옆-뒤-옆을 반복하면 원 중심에서 항상 일정한 간격을 유지하며 걷기가 훨씬 용이하다.
팔괘장(八卦章)이란 중국 무술이 있다. 태극권이 격투기가 아닌 몸공부(=쿵푸) 방편이듯, 팔괘장도 그렇다고 봄. 격투기로 바라보는 순간 이 무술의 진정한 가치는 가려져 보이지 않는다.
땅고에서처럼 팔괘장에서도 히로와 비슷하게 원주를 도는 수련을 한다. 차이점은 앞-옆-뒤-옆이 아닌, 앞-옆 (or 앞-앞) 만을 하며 걷는다.
오래 전 원 주위를 돌며 걷기를 하면 뭐가 좋은지 궁금해 (스승 없이) 반년~1년 정도 혼자 수련해 본 적이 있었다. 큰 소득은 없었지만 딱 한 가지, 땅고가 디소시에이션(dissociation)을 강조하듯, 이렇게 걷다 보면 척추를 좌우로 비트는 연습이 저절로 돼 전사경(纏絲勁 = 디소시에이션의 무술 명칭) 원리를 깨닫는 데 큰 도움이 되겠단 점은 납득했다. 다만, (땅고에서처럼 파트너 + 음악 없이) 혼자서 단순 동작을 한 시간 넘게 반복하는 게 너무 지루해 나와는 안 맞는다고 판단해 중단.
팔괘장에서 원주를 돌 때 양팔의 기본자세는 원 중심을 향한다. 앞-옆 스텝으로 걸으며 자꾸 원 중심으로 모이려는 경향을 양 팔을 통해 저항함으로써 등근육 수련을 함께 하려는 의도가 아니겠냐고 짐작. (검증받는 바 없는 개인 생각.)
땅고추는 분 중 얼마나 공감할지는 모르겠지만, 앞-옆-뒤-옆 원주돌기는 명상적 움직임 공부 방편으로서도 굉장히 여러 의미를 함축하고 있다. 팔괘장과 마찬가지로 이 또한 지루해서 오래 못할 뿐, 만약 끈기를 갖고 내공을 십년 이상 쌓을 수만 있다면 하단전 및 중단전 무게중심 각성 최고 경지까지 올라갈 수 있으리라 예상.
조금 다른 얘기지만, 팔만대장경에는 '우요불탑공덕경(右繞佛塔功德經)'이라고 해서 탑 주변을 오른쪽으로 돌면 공덕이 쌓인다는 황당한 내용도 있다. (왼쪽으로 돌면 뭐가 문제인지에 관해선 아무 얘기가 없다는...) 아무튼 원 주위를 끝없이 도는 수련의 중요성과 가치를 설한 기록이 예로부터 지속적으로 있어 왔다는 의미 부여는 가능할 듯.
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