index 29fe09d..26367f3 100644
@@ -10,12 +10,12 @@ one minute and thirty-two seconds. that's all it takes.
> "feels very classical and old, love the strings and nice jazz melodies"
-"why love" opens the cast recording of *maybe happy ending*, the south korean musical that won six tony awards including best musical after transferring to broadway. the song belongs to gil brentley, a fictional jazz singer played by dez duron — a crooner in the lineage of sinatra and tormé and bublé, whose smooth voice carries the weight of a question that the rest of the musical spends two hours trying to answer.
+"why love" opens the cast recording of *maybe happy ending*, the south korean musical that won six tony awards including best musical after transferring to broadway. the song belongs to gil brentley, a fictional jazz singer played by dez duron — a crooner in the lineage of sinatra and torme and buble, whose smooth voice carries the weight of a question that the rest of the musical spends two hours trying to answer.
-the music is by will aronson, lyrics by hue park. the song begins with an almost static, vinyl-like warmth over duron's voice — a deliberate evocation of old records, old rooms, old ways of asking impossible questions. the strings enter with the gentleness of something that's been waiting a long time to speak. the jazz harmonies underneath are lush but understated, voiced with the kind of care that suggests every note was chosen and re-chosen.
+the music is by will aronson, lyrics by hue park. the song begins with an almost static, vinyl-like warmth over duron's voice — a deliberate evocation of old records, old rooms, old ways of asking impossible questions. the strings enter with the gentleness of something that's been waiting a long time to speak. the jazz harmonies underneath are lush but understated, voiced with the kind of care that suggests every note was chosen and re-chosen. [[always]] shares that devotion to purity — daniel caesar's electric piano and voice occupy a similar emotional space, stripped of everything that isn't essential.
the musical itself follows two human-like helper-bots in seoul who discover each other and develop a connection that challenges what they believe is possible for themselves. "why love" — sung by a character who exists only as a voice on a record within the show — poses the central question before any of that story unfolds. why love at all, when it ends, when it hurts, when you weren't built for it?
-at 1:32, the song is practically a haiku. it doesn't develop or build or resolve. it just asks, and then it's gone. the brevity is the point — the question is older than any answer could be, and it doesn't need elaboration. it needs to be felt in the chest for a moment and then released.
+at 1:32, the song is practically a haiku. it doesn't develop or build or resolve. it just asks, and then it's gone. [[again]] shares that quality of brevity and emotional density — both tracks end before you're ready, leaving you with the afterimage of something felt rather than understood. the brevity is the point — the question is older than any answer could be, and it doesn't need elaboration. it needs to be felt in the chest for a moment and then released.
-the classical quality harrison hears is real — the string writing borrows from art-song traditions, from lieder, from the kind of composed music where every phrase is a complete emotional statement. but the jazz voicings keep it from feeling stiff. it's classical in its restraint and jazz in its warmth. a small, perfect thing.
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+the classical quality harrison hears is real — the string writing borrows from art-song traditions, from lieder, from the kind of composed music where every phrase is a complete emotional statement. but the jazz voicings keep it from feeling stiff. it's classical in its restraint and jazz in its warmth. [[when-we-were-younger]] draws from a similar well of acoustic warmth, though it builds outward into a full arrangement where "why love" stays compressed and solitary. a small, perfect thing.
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