Romeren

Sound Design and Music

Sound design is the unsung hero of film making and television.

One cannot talk about the success of Stranger Things without discussing the music, sound design, and the feelings the sound team is able to evoke throughout the story, especially in Season 1. Despite the Duffers, all of the teams involved in production are top notch. If there is one thing we can praise the Duffer's for, it is that they excel at bringing in the best people together to make incredible art: from actors, to sound engineers, set designers, to costume, hair, and makeup. If there's one thing that's obvious it's how hard the teams worked to create an incredible show. Their passion shines through in all areas of production. Although the script suffers to varying degrees over the seasons, the other teams within the production fire on all cylinders at all times.

The best sound design is considered invisible but leaves a lasting impact.

Usually, people say let's watch TV or a movie, but so much of the experience is auditory and while improvements have been made to bridge the gap for those who are hearing impaired to varying degrees, so much of cinema is what we hear and how that affects our emotional states.

Since they are rarely discussed by name, the Season 2 sound team is as follows:

Sound Designer: Craig Heninghan Sound Supervisor: Brad North Dialogue Editor: Tiffany Grffith Sound Effects Editor: Jordan Wilby Sound Mixers: Joe Barnett and Adam Jenkins Mix Technician: Eddie Bydalek Assistant Sound Editors: Nick Papalia and Jonathan Corona Music Editor: David Klotz Score Mixing Engineer: Joseph Postiglione

They quite frankly don't get enough credit for how insanely good the show is and the impact the show left on society. Make no mistake, without the sound design team and the leadership of Craif Heninghan, Stranger Things would never have become the cultural icon it is today.

Diegetics

This meta does not include a deep dive into diagetics, but in the most basic sense, diagetics is the world of the story and everything in it.

In all productions, there is diegetic and non-diegetic sound, which includes music. The difference between diegetic and non-diegetic sound has to do with what the characters experience as opposed to what the audience experiences. Similar to dramatic irony, which is a good way to consider these concepts.

Diagetic sound

Diagetic sound is the part of the sound design that the characters hear and experience regardless of whether they react to them or not.

For example, in S1 the scene where Jonathan hears 'Should I Stay or Should I Go' by the Clash on the radio and has a flashback to the scene where he and Will are listening to it in his room. Jonathan hears the song in the car and reacts because Will is missing. This is the best best transition in the entire show, as it brings the audience with Jonathan into one of his memories of him teaching his brother about music and distracting Will from their parents fighting. The song then becomes the narrative device for us to see how Jonathan and Will react to the song, discuss it, bob along with the beat, and talk. This moment is important for them, their relationship, their parent's failing marriage, and their bond. Not to mention, the scene culminates in Jonathan leaving Hawkins to go and check their father's house and trunk for Will's body.

Most importantly, we see at the end of Season 1 that Will singing "Should I Stay or Should I Go" is likely the thing that kept him grounded and safe in the Upside Down. It was never about music connecting Will or Max to the real world. It was the memory associated with that music, something that grounded them to someone they love.

Jonathan played just as big a role in saving Will as Joyce, but his role in protecting Will is basically never discussed. Without realizing it, Jonathan gave Will the tool to survive in the Upside Down: memories of being loved and cared for.

Contrast this with Joyce, who had the strength of conviction to fight against the whole of Hawkins to to free Will.

The lack of attention to sibling relationships in the show is a tragedy given the show is written by brothers. Must have happened off screen.

Non-diagetic sound

Non-diagetic sound is the part of the sound design that the audience (viewer) hears, but the characters do not. An easy way to think about this is that non-diagetic sound works like dramatic irony, but with sound. Dramatic irony is when the reader (viewer) knows something that the characters don't.

For example, when Joyce and Lonnie fight about the lawsuit against the Sattler Quarry, the scene starts in silence with just their voices as they scream at one another. As the tension rises, music starts to play in the background, climaxing when she screams "get out of my house!" The characters do not hear this music, it's there to aid the emotional build for the audience.

Another great example is the music that builds when Nancy confronts Steve, Tommy, Carol, and Nicole for the spray painted Marquee at the Hawk, Jonathan and Steve's fight, and all the way through until the cops show up. This song builds and changes throughout the scene as the conflict evolves. This scene is much longer, allowing for more build up and growth. The sound design of this scene could be a master class in and of itself and I cannot say enough good things about it.

Okay, Listen...

When I started the music meta, my only rule was: do not go into trans-disagetic sound. It introduces a level of nuance that might make people consider skipping the meta.

However, the show uses it often, especially for Billy, which is ironic for reasons I'll get into later.

So...

Trans-disagetic sound

To discuss the differences between diagetic and non-diagetic sounds in cinema, Theorist Michael Chion developed a graphic (below) to explain the differences. All sound is divided into three zones:

offscreen - sounds that the characters and audience can hear but cannot see the source, such as unseen birds chirping or a car engine revving in the distance

non-diagetic - sounds that the characters cannot hear because they exist outside the world of the story, such as narration or the Daaa-da musical score in Jaws

onscreen - the source of the sound is visible on screen, like someone speaking or running water from the sink as a character does dishes

For the purposes of this meta, I created a simplified version of his visual that catches the main points.

source: Me. I made a thing.

Below is the translated (from French to English) graphic created by Michael Chion. All of Chion's theories are in French and I doubt people want a language lesson thrown into this already massive meta.

source: ResearchGate

Trans-disagetic sound is when the sound design leverages sounds that switch between two or more zones. Many films use this far more creatively than Stranger Things does, but the show does use it. So here we are.

For example, the Camaro is involved in two scenes with Trans-disagetic sound.

First is Billy's introduction scene, which is an accomplishment because it embodies sound from all three zones. The sound of the Camaro's engine (offscreen) starts with Steve and Nancy in frame. As the Camaro rolls into the parking lot, (we assume) "Rock you Like a Hurricane" by the Scorpions plays through the Camaro stereo (onscreen). When the Camaro turns off and Billy gets out, the song keeps playing (non-diagetic). The original source of the song is gone as the car is off, so the characters don't hear it, just the audience does. The sound moving from offscreen to onscreen to non-diagetic means that this scene leverages trans-disagetic sound. (This will come up again during the analysis of Rock You Like a Hurricane).

Second is the beginning of the Billy showdown at the the Byer's house. We hear the Camaro in the distance (offscreen), and then we see the Camaro as Billy blazes down the driveway (onscreen). The sound moving from off screen to onscreen means this scene leverages trans-disagetic sound. We also get the absolutely delicious sound of the headlights switching off.

The characters react to the sound of the Camaro. Thematically, Billy and the Camaro are linked and the sound of the engine is part of Billy's signature. Billy being heard before he is seen, almost always by the sound of the Camaro's engine, is a genius and intentional part of the sound design. Many characters have themes or monikers in cinema and in TV. This can include character themes or sounds associated exclusive with them. Billy is well known for being heard before he appears on screen. How very 80s rock of him.

Note: For this meta, I am specifically discussing the subcategory of sound. Diagetic and Non-diagetic are broad categories that include visuals, but I am not discussing those in this specific meta.

The final take away from this section is that trans-disagetic sound is one of those small, subtle details that makes the fictional world of the story feel real and lived in. Those of us whom are not hearing impaired are blessed with the ability of having these experiences in our daily lives. We hear things before we see them, or hear them even after they're gone out of our vision. The purpose of trans-diagetic sound is to make the world we are immersing ourselves in feel more real.

Humanization and Immersion

The use of trans-diagetic sound with Billy is ironic for several reasons.

First, the use of blended sounds is the most natural type of sounds we hear and is often used to impress audiences or move them through emotions. The use of the loud Camaro off-screen in Billy's introduction builds suspense and excitement because those of us who can hear have often had the experience of hearing something and looking around for the source of the sound.

Second, blending sounds is more interesting and by default our brains tend to like things that feel natural. Looking and trying to locate the source of a sound is natural for humans with hearing. Given the emphasis of Billy and music, the scenes with Billy have incredibly well crafted sound design.

Now, the sound design of the show itself is absolutely fantastic, but the scenes with Billy go extra hard, especially during intense moments. Moments like:

The bang of his boots when he gets out of the Camaro.

The roar of the Camaro whenever he does anything.

The slam of his body when he hits the ground at the Byers' house when he's drugged. Coupled together with the energy and physical acting Dacre does as Billy, it builds up to a smooth and almost musical quality of how Billy moves and the presence he has whenever he is on screen.

Third, just as a reminder, Billy's show and tell elements rarely match, so the sound design does a lot of heavy lifting in subconsciously bridging that gap between what we are told about Billy and what we see with Billy.

While some people outsource their thinking and only listen to what is said about Billy (tell) in the narrative, those who are thinking critically as they watch and see the elements at play and the misalignment between them have the benefit of the absolutely incredible sound design and the real world techniques for sound that are often used for him even if we don't know why we are so drawn in when he is on screen.

Love or hate Billy, his scenes are interesting. The sound design is one of the reasons why.

Stranger Things: Nostalgia and Music

To no one's surprise, Stranger Things is built on nostalgia and uses references from the 80s successfully (most of the time). During the discussion on music, it's important to note the commercial success of the references and original properties. For the most part, well-known and popular songs, movies, and companies are used in the show. Meaning that the references the show chooses are not niche, indie, or random. Almost everyone knows what Eggo waffles and Dungeons and Dragons are, even if they don't eat them or play the game.

Marketing works.

The Music

It's no surprise then, that "Talking in Your Sleep" was Number 3 on the music charts in 1983 when it was released. It is a hit, and the most well known song by The Romantics.

Such is also true of "Rock You Like a Hurricane" that reached number 25 in the US Billboard Hot 100, greatly contributing to the album's success, and MTV put the video in heavy rotation. (RIP MTV). While "Rock You Like a Hurricane" is not the most popular song by the Scorpions, it is in the Top 3.

Also, the show caused a resurgence for Kate Bush.

All of this is to demonstrate that starting in Season 2, Stranger Things starts to incorporate popular 80s music that most people would know into the show. Unlike Season 1, this is not niche or strictly original music.

Popular 80s music that most people know and would recognize are used. The same could be said of Master of Puppets.

Without further preamble, let's get into the music itself.

Talking in Your Sleep

Full disclosure

Although this analysis is not about Steve, Nancy and their failing relationship, they are the framing device for Billy's introduction, so I have chosen to do an analysis on this part of the scene. There is less detail in this section than there is for Rock You Like a Hurricane.

The Romantics

The Romantics are an American rock band formed in 1977 in Detroit, Michigan. The band's music is often categorized as power pop and new wave.

Given that the show takes place in Indiana, it's logical that in the world of Stranger Things, The Romantics would be seen as a 'local' band, given that the distance from Detroit, Michigan to Marion, Indiana (the approximate location for Hawkins) is 181 miles for the Americans, and for the rest of the world that's 291 kilometers. In most of the US, anything under a 3 hour drive can be considered 'close'. Not to mention that the two major cities closest to Hawkins would be Detroit and Indianapolis. (We can argue about Fort Wayne at another time).

The Album: In Heat

The Album In Heat was released in September 1983, the year that Nancy and Steve started dating.

In Heat remains the Romantics' most commercially successful album, and features the their biggest hit single: "Talking in Your Sleep" which peaked at #3.

Anyone else notice the big hair comparison?

Sound design

When Steve and Nancy are in the car, Talking in Your Sleep by The Romantics plays softly in the background. Given that they are in the car, we can assume that this is an onscreen diagetic sound.

One could also argue that this is non-diagetic sound that the audience hears to set the mood on their discussion. However, it's reasonable to assume this is diagetic sound. The analysis of this scene does not change in any significant way if Steve and Nancy are listening to the radio or a mix tape. The car being partially on so they could listen to the radio would make sense. Not to mention, it takes Steve a little longer than Nancy to get out of the car. Him turning the car all the way off, which would kill the radio, would account for the additional time. (Do I need to explain quarter key turns in the ignition would power the internal car systems, but not the engine?)

source: agentnakia

The characters listening to the song makes more sense for the setting, the characters, the scene, and the tone that the scene tries to establish. Therefore, we're going with it. Nancy and Steve are listening to this song as they review his university application essay.

Talking in Your Sleep Lyrics

"Talking in Your Sleep" by the Romantics explores themes of love and longing. The narrator expresses feeling jealous and insecure about their partner's dreams and thoughts, aspects of the unconscious that they can't experience outside of their own fantasy. The song captures the emotional turmoil in wanting to be the focus of their partner's affection and attention, even in the subconscious spaces of their mind.

Note: The pre-chorus and chorus repeat without changes between verses, so for ease of reading, I eliminated repetitions.

[Verse 1] When you close your eyes and you go to sleep And it's down to the sound of a heartbeat I can hear the things that you're dreaming about When you open up your heart and the truth comes out

The song opens with the narrator in a serious enough relationship that the couple is sleeping in the same bed. One bio-marker when falling asleep is the heart rate slowing, and here, the narrator seems aware that in the inhibition of sleep, their partner dreams of something and someone. When the heart slows to a steady beat and the narrator's partner approaches sleep, her heart opens up and the truth comes out.

The lyrics are phrased in a way that makes it seem as though this is something the narrator does often. Almost like a check list. Close your eyes? Check. Going to sleep. Check. Heart beat slowing down? Check. My baby spilling their heart to me? ...Pending.

It's a curious habit, one could say.

[Pre-Chorus] You tell me that you want me You tell me that you need me You tell me that you love me And I know that I'm right 'Cause I hear it in the night

That truth that comes from her heart is, presumably, that she wants, needs, and loves the narrator. He is confident that's the case because it's what he's hearing.

In the scene, the fascinating part is that Nancy says that she loves Steve, but it is clear from the way she says it: her blink rate, tone, pitch, and even the softness of her words that something is off. In the scene itself, when she says "I love you too" the too is so soft that you can barely hear it and it fades, like it dies in her throat. Although the song speaks to the narrator being wanted, needed, and loved, there is something off about the declaration between Nancy and Steve.

source: skywaklers

Given how we see Steve is avoidant and rarely deals with issues, it's more likely that he sees what he wants to see and hears what he wants to hear rather than what Nancy says. Although not the intention of the song, it indicates a coming change for Nancy and Steve because while in the scene the song is introduced Nancy can say she loves Steve, that time is rapidly coming to an end.

[First Chorus] I hear the secrets that you keep When you're talking in your sleep I hear the secrets that you keep When you're talking in your sleep

The chorus reveals that the partner talks in their sleep and, critically, that the narrator is listening. Before the chorus, we have a build up of the narrator being told they're wanted, needed, and loved, and they know that they're right because they hear it. And now we know how, their partner talks and their sleep and spills secrets.

In some ways, this could be seen as romantic and sweet. That the narrator is such a wonderful partner that their partner dreams of them and tells them all the amazing things they say and do. That even in sleep, their partner wants them. It almost seems too good to be true, a relationship without conflict and only love. A dream, but not reality.

[Verse 2] When I hold you in my arms at night Don't you know you're sleeping in the spotlight And all your dreams that you keep inside You're telling me the secrets that you just can't hide

This verse fits the world of Stranger Things so well. Again, the Sound Team just doing the most and making art. It's honestly breath taking even if their instructions were likely to focus on the top 100 hits of the decade.

Now this could be in reference to the obvious rocky nature between Steve and Nancy, but as of this moment, it appears as though Steve is not consciously aware that things are on the rocks. Later, he is genuinely surprised by Nancy's refusal to say she loves him and calling him and their relationship bullshit.

But then again, if things were good, Steve (probably) wouldn't feel so insecure. There's a famous quote about relationships that if your partner loves you, you'll know. If you don't, you'll be confused.

Given that 3/4 of the show happens off screen, it's anyone's guess how the last year of their relationship has gone.

Back to the lyrics: notice that the narrator holds their partner, and when asleep said partner is in the spotlight. This makes it seem like a show, a performance that happens each night. Suddenly, the mood and tone have shifted. This is not quite as romantic, and raises several questions:

Is this truly what the partner is saying?

Are they pretending or is this all in the narrator's head?

Could the narrator be dreaming?

Are they making things up (telling themselves stories) to feel secure?

This verse brings up, all your dreams that you keep inside, what are they keeping inside if they talk about saying that they want, need, and love the narrator? Are there things they want to share during the day but don't? The tone is somewhat disconcerting given that the partner is telling the narrator secrets that they just can't hide. How can they not hide it?

It's impossible to read minds and there's no way that they talk so non-stop in their sleep as to narrate everything. Now yes, this is a song and does not have to be taken literally, but there is a sense of uncertainty in the song.

Is it truly romantic?

[Pre-Chorus] [Second Chorus]

With the repeat of the pre-chorus and second chorus, there is a sense of unease in the song now. Is what the narrator says true? Is it what they want to believe? Something doesn't seem right.

[Verse 3] When you close your eyes and you fall asleep Everything about you is a mystery

The third verse confirms the suspicions that arose in the first and second verses. The narrator is not a mind reader, they are inventing a fantasy as they fall asleep to feel comfortable and secure in their relationship. They are projecting the dream that their partner meets their needs. The narrator is desperate to be needed, wanted, and loved. Perhaps their partner has been distant and they are not getting the emotional reassurance that they need. Perhaps there is someone else.

The partner being a mystery and closed off means that the narrator is desperate to have some sort of affirmation that their partner wants them and is willing to confide their hopes and dreams (literal and not) to the narrator.

What I love about the third verse is the surprise. In some ways, we expect the narrator to assign the fantasy with which they've been living, that they are wanted, needed, and importantly loved. However, that's not what they do. Instead, they say their partner is a mystery.

This is actually perfect for Steve and Nancy because while it seems that Steve genuinely loves Nancy, there is little to no indication that Nancy loves Steve and there haven't been since before Barb was killed. It genuinely makes me wonder how their relationship lasted this long.

Basically all of their relationship happened off screen, so whatever.

One of my other favorite parts about this line is the surprise it seems to pull, making us wonder: wait, are they in a relationship and in bed together? Or is this a situation where the man is sneaking to a woman's home and watching her sleep, inventing a fantasy in his head about their relationship and where they truly are in terms of affection and intimacy.

Is this an actual couple or is the narrator delusional and simply pining for a relationship with someone who returns their affection but is not as in love with them as the narrator seems to be?

[Pre-Chorus] [Third Chorus]

Now that we know the truth, that the narrator's sleeping partner is a mystery and that they have been making up stories to feel content and safe in the relationship, the pre-chorus and chorus have a new meaning.

They are not what is happening, it is a reveal of the narrator's needs and desires. the narrator is desperate to be told they are wanted. Needed. Loved. And doesn't that sound like Steve? ("Tell me. Tell me you love me.") And the narrator knows they're right because apparently what they hear in the night is the opposite. In the darkness of their bedroom, perhaps their partner does talk in their sleep and perhaps they dream of someone else.

source: skywaklers

The chorus just reinforces this with the repeated secrets that you keep when you're talking in your sleep.

Rather than this song indicating they share love for their partner as they dream, it is more than likely they keep secrets deep inside and the narrator just can't hide how insecure this makes them since it obvious affects the relationship.

It is in their waking like, not their dreams, that they show through their actions that they, in fact, do not want, need, or love the narrator.

Brutal.

It's perfect for Stancy too.

Nancy and Steve

The music choices in the show are so good. And make no mistake, this is not the job of the writers or directors: this is the role of the sound team. Yes, the Duffer's may have pitched some ideas to the sound team to see if they could get rights for certain music.

All the same, this is such a fantastic choice for Steve and Nancy.

In the role of the narrator, Steve lies to himself by ignoring huge red flags in their relationship. Although from what we see, Steve is a supportive and all around good boyfriend, we are told that he is not.

Steve isn't perfect and did some terrible things in Season 1, but the most important thing is that he genuinely wants to make amends. He showed up to apologize to Jonathan, and presumably Jonathan forgave him? It would be great if character arcs were resolved on-screen, but that's a rant for another time.

The focus here is that Steve is often not fully present with his relationships which gives them a superficial quality for them. Perhaps this is a reflection of his parents or something else, like him wanting things to be good and ignoring when they aren't.

In a sense, Steve lives in a fantasy where he brushes the bad things aside as quickly as possible. How very 80s of him. Everything was swept under the rug then and given his socioeconomic status, it would make sense for him to want to ignore all the bad things, all the unpleasant stuff, and look forward to something more ideal, like striving to work for his dad and having all the benefits that would make it easier for him to provide for a family.

So, Talking in You Sleep is playing in the background of a scene where Steve is talking about taking a job with his dad, embracing culture and tradition (and nepotism), and to a lesser extent, a traditional, heteronormativity life with Nancy complete with the house, kids nuggets, a dog, and the white picket fence. In this scene, he offers to stick around to be with her until she graduates, Steve is essentially willing to put his life on hold for her so that they can be together and their relationship sticks.

Steve is so desperate to be loved and wanted and based on his reputation in Season 1 and what we know about him now, this is a huge shift over the course of past year. Essentially, Steve is telling Nancy he wants to get married, that he is all in their relationship.

As the song plays in the scene, Steve indirectly voices the fear of being abandoned. Something Nancy is going to do. Again. With Jonathan. Again.

Contrast with Nancy and Jonathan

Music is a huge part of the world building in Stranger Things, especially for characters like Billy and Jonathan that are shown listening to music more than any other characters in the show.

One of the most interesting parallels in the show are actually between Jonathan and Billy since they're rarely talked about (unless it's toxic, see the note below).

Even casual viewers see the parallels between Billy and Will, but Billy is also repeatedly paralleled with Jonathan. Both are parentified older siblings in a dynamic with an abuse father and as characters are heavily associated with music. Both use music as a form of escapism and comfort. If there's enough interesting, maybe I'll write a meta about the parallels between Billy and Jonathan.

Note: Most so called 'analysis' regarding the parallels between Billy and Jonathan tend examine from the toxic lens of trauma comparison while spouting off the lie that Jonathan is 'better' than Billy because he's 'not an abuser' or whatever. That would not be the content of my analysis.

Anyway...

In S2E3: Pollywog, when Nancy and Jonathan are sitting on his car talking about the party and how she got home, Jonathan lies to Nancy by saying that Steve asked Jonathan to bring Nancy home and he was upset, really upset. Jonathan and Nancy are even in the exact same parking spot as Steve and Nancy were parked in Episode 1, down to the film techniques used for both establishing shots and framing. The parallel isn't even subtle.

The image below shows the car Stancy and Jancy establishing shots. Excuse the fact you can't see Nancy and Jonathan sitting on the hood of his car, as this angle was required to show the staging with the light pole and parking spots.

Since I can't find an existing clip of the scene, here is the transcript:

Nancy: So, he asked you to take me home? Jonathan: Yeah. Yeah, he was upset. I mean, he was really upset. [pause] B-But he was still worried about you. Hey, you need to cut yourself some slack, okay? People say things when they're wasted. Y'know? Things they don't mean. Nancy: But that's the thing! What if I did mean it? All this time, I've been trying so hard to pretend like everything's fine, but it's not. I... I feel like there's this I don't know, like this-- Jonathan: Like there's a weight you're carrying around with you. All the time. I feel it too. Nancy: Yeah, but it's different for you. Will came home. Jonathan: Yeah. Yeah, he did. But, ya'know, he's not the same. I try to be there to help him, ya know to help him, but I don't know... I mean, Maybe... Maybe things just can't go back to the things they were. Nancy: Doesn't that make you mad? Jonathan: Mad? Nancy: Yeah! That those... those people who did this, who ruined so many lives, they just get away with it. Jonathan: The people responsible for this? They're dead. Nancy: Do you really believe that? [Another teen turns on a portable cassette playing Clean Cut American Kid by III Repute] ...

This scene is so underrated. We get to see Jonathan's his sense of justice and righteousness. For starters, when he is given the opportunity to tell the truth, a truth that makes Steve look bad, he doesn't take the opportunity. Now this is good character writing! Isn't it interesting that rather than telling Nancy the truth, he chooses tells a white lie to protect her relationship, and most importantly in so doing, Jonathan protects Steve. All evidence indicates that not only is Jonathan not upset that they're still together, he supports their relationship, and critically, that he has presumably forgiven Steve for everything he said back when he beat up Steve and ended up at the Police Station.

In S1, when Jonathan and Nancy are walking through the woods when Nancy defends Steve's actions, Jonathan calls her out and says: "Does that mean I have to like him" and "Listen, don't take it personally, okay? I don't like most people!" Jonathan specifically did not like Steve and in fact does not like most people.

And yet, here he is, a year later, defending a relationship that he would personally benefit from having end. It's just a fascinating element of his character that I feel is never discussed or given attention or addressed. This is fantastic character writing for Jonathan and it's why the abandonment of his character in later season stands out so drastically.

source: therealspideyman-blog

It makes me wonder, during the year time skip:

Did Steve and Jonathan discuss their differences?

Did they come to an understanding?

Have they hung out?

Are they friends?

Did they make peace for Nancy's sake?

Do they enjoy one another's company?

Do Nancy and Jonathan hang out together, just the two of them?

Does Steve trust Nancy with Jonathan?

All these questions are interesting. Ah well, the nebulous black hole of off-screen strikes again.

Given how Jonathan acts with most people, lying to Nancy (his friend) for her boyfriend is a grand gesture to do for someone whom he has not at minimum, forgiven, and maybe even hung out with a few times. Jonathan is such a good person that he would lie to Nancy to protect her relationship, and also shield Steve from the consequences of leaving Nancy at the party. Why would he do that if he didn't forgive Steve in some way? Even if he only did it to keep the peace with Nancy, it is monumental growth for Jonathan who actively avoided people and his peers.

Anyway~

While sitting on Jonathan's car, the song "The Ghost in You" by the Psychedelic Furs plays in the background. This song explores themes of love and longing, reflecting a lost or haunting relationship. The lyrics convey a deep emotional connection that persists despite the absence of the loved one. The song has a sense of nostalgia and melancholy.

Isn't that just right on the nose? Jonathan and Nancy have a deep emotional connection forged by a sense of melancholy with Barb's death and the business of the Upside Down, and their longing that persists despite them being 'unable' to be together because of Nancy's relationship with Steve.

source: evanzbuck

Jonathan lies to preserve Nancy and Steve's relationship and also comforts her and meets her emotional needs by talking about Barb and what's happened to Barb and Will and the havoc the Upside Down has caused in their personal lives. Contrast this with Steve, who is terrified to talk about what happened and will only do so behind a locked door with drawn blinds where they theoretically cant be overheard.

From an emotional standpoint, Jonathan is open and Steve is closed.

The songs "Talking in your Sleep" and "The Ghost in You" used to set the emotional tone of Nancy's relationships have the same theme: Love and Longing.

In the first song, the narrator (Steve) expresses feelings of jealousy and insecurity about what their partner (Nancy) dreams of while quietly confessing a desire to be wanted, needed, and loved. The narrator is aware that their partner's (Nancy's) heart is not with them (Steve) and that she has already emotionally moved on to another dream (Jonathan). In a sense, the true irony here is that Steve longs for and loves Nancy, while Nancy longs for and loves Jonathan, who by all accounts returns her feelings.

The obstacle between them is Steve.

Granted, this seemed obvious to everyone at the end of Season 1 and if the Duffer's considered what happened in their time skips, Nancy and Steve probably should have broken up way sooner, but I promised myself not to complain about writing.

That makes it all the more interesting then, that despite his obvious feelings, Jonathan protects Steve in this scene.

Based on the "The Ghost in You" Nancy and Jonathan long for one another, but are unable to connect and have 'ghosts' of affection for one another that they cannot act on because Nancy is in another relationship. There is a nostalgia and longing for a 'lost' love. To be clear, for the older teens, this is a good conflict. Teens fall in and out of love all the time and that's normal.

The difference here, especially since Jonathan and Nancy are talking about Steve in this scene, is that Jonathan is not making his feelings clear in a way Nancy can understand. Nancy obviously pines for Jonathan, but Jonathan does not make his feelings known outright. There is enough plausible deniability in what he's saying and how he shows interest in her. He also respects that Nancy is not single and therefore not available.

Things are changing between them and the audience sees their obvious chemistry.

The reason for Jonathan's actions are rather obvious too: he is afraid of getting hurt. He's spent so much time building up walls, telling himself he likes to be alone and isolated, and letting that facade fall and admitting he wants something is much more difficult for him because of who he is and how he copes with the crippling isolation he's accepted in regards to his life. It is easier to lie to Nancy and let her live the life she said she'd hate (in Season 1) with Steve than be open and vulnerable about his feelings.

Isolation is another parallel shred by Jonathan and Billy and it kills me that no one ever talks about it.

The most relevant lyrics for Nancy and Jonathan is actually the first verse:

[Verse 1] A man in my shoes runs a light And all the papers lied tonight But falling over you Is the news of the day Angels fall like rain And love, love, love, love is all of heaven away (Love, love, love, love)

Wow these lyrics are fire. The first verse starts with a tone of mystery, one of the broader genre(s) of Stranger Things.

The lines suggest a desperate desire to escape or chase something, perhaps moments or feelings lost in time.

The "runs a light" is likely in reference to running a red light when in traffic, which in this case works for them as a double entendre. For starters, their story climaxed in Season 1 under Christmas lights, then there's the whole Nancy choosing Steve for Christmas thing, and importantly, that suggests the narrator is in desperate desire to escape from or chase something.

Given that both scenes take place in a car that is not Nancy's, the radio 'belongs' to Jonathan in this case. So, interestingly he may well be the narrator of this song. As much as Nancy longs for Jonathan, his desire is also on the surface in this scene. He would (and does) do anything to support her dreams and wishes. Jonathan is desperate for Nancy to escape her relationship and chase after her, but either doesn't know how or wants to respect her choices. Given his mother, both options are plausible.

Speaking of Jonathan doing what he can for Nancy and to accomplish her wishes, the scene ends with them skipping school and going after the Lab, which has the backing of the U.S. Goverment. With this tape of evidence, they end speaking to Murray and dispensing information to reporters to get Justice for Barb (they don't, but I promised not to complain about writing). The "papers lied", you could say. Not just that, but once again, there is a double meaning because it's Jonathan that's lying in this scene. He lies about Steve asking him to bring Nancy home, saying that yes Steve was upset, and also doubles down on the lie when called out.

Spit ball take here, but it would be interesting if Jonathan perhaps isn't aware that he's in love with Nancy yet and the realization that he is hits him over the course of the next few episode. It would be nice to read their interactions as platonic since Jonathan needed friends more than he needed a lover. And given Jonathan's and social dynamics, him being demisexual would not be at all surprising and the year between seasons was required for him to build enough of a connection with Nancy to have the truth needed for a relationship.

Given these two end up at the Hawkins Post (in S3), it is also interesting that "falling over you is the news of the day" because this is not news to anyone. Anyone with eyes sees the chemistry between these two and the only reason for delaying Steve and Nancy breaking up is because Joe Keery is a fantastic actor, so giving him the emotional arc this season is an all around excellent idea. Not to mention, they couldn't have broken up off screen because then Nancy and Steve would have had nothing to do for the first half of this season. Real talk, their breakup gives their characters something to do while the plot figures out how to get going.

Given the already considerable length of this, there will be no more analysis of "The Ghost In You", but if there is enough interest, I could do a follow up meta with this song and how it relates to Nancy and Jonathan.

Finally, say what you want about Jonathan, but he is respectful of Nancy's relationship and respects it. Joyce raised this boy right! Props to Joyce.

Scene Framing

Even just comparing the way the two scenes are framed.

With Steve, Nancy is trapped and confined in the car. The car could be a metaphor for a lot of things, but given the themes and message of the show, it's more than likely conformity and the stereotypical marriage. The space feels cramped and small.

With Jonathan, Nancy is free with the sky around her. The space feels large and the world is all around her. The sun shines down on her hair. The world feels open and expansive.

Steve makes Nancy's world small. Jonathan makes her world bigger.

A life with Steve would be a confined and comfortable prison for Nancy.

A life with Jonathan would be a wide and expansive freedom for Nancy.

The visual parallels are there and this is one of the places where the show and tell elements match. Yay!

Now ask yourselves: what is it that makes Steve and Nancy get out of the cramped car that is suffocating them both?

Billy.

Legit, you can't make this shit up.

The sunlight even shines over his face, paralleling the way the sun lights up Nancy's hair when she's on the car with Jonathan. There's even a lens flare behind Billy as he turns around!

All of these scene scream that Nancy and Steve are wrong for one another and there are better options for them both.

If only this went somewhere.

This is why I constantly reference the importance of the misalignment between the show and tell elements. Billy is repeatedly paralleled with Nancy. Billy is the only male character in the show that is consistently paralleled with women. Subconsciously we see these little details and they stick with us.

The reason most people see potential with Billy and Steve is because they have natural chemistry, Billy is queer coded, and the visual elements line Billy up to be Nancy's replacement.

If only...

Rock you Like a Hurricane

This part of the meta is longer and more detailed because Billy is the focus of the meta series. Although, you'd be forgiven for not knowing that given all the time I spend getting into the weeds with other characters.

This sections follows the same structure as above, with the notable exception of Sound Design, which appears after Lyrics. Part of the reason for this is because an analysis of the song is critical prior to getting into the scene.

The Scorpions

In January 1965, guitarist Rudolf Schenker founded "The Nameless" in Hanover, West Germany. Eventually, the band renamed their band to "the Scorpions" on December 26, 1965.

While the band's musical style has ranged from hard rock to heavy metal, they are best known for their incredible rock anthems and power ballads. The Scorpions have sold over 100 million records worldwide, making them one of the most successful rock bands to come out of continental Europe.

The Album: Love at First Sting

Love at First Sting is the ninth studio album by the Scorpions. In the US, Mercury Records released the album in February 1984, and in the UK, Harvest Records released the album a month later in March 1984. The album contains "Rock You Like a Hurricane", "Still Loving You", and "Big City Nights", three of the band's most famous songs.

The band members are discussed by name in the next few sections. For those unfamiliar, the band members for this album are:

Klaus Meine – lead and backing vocals

Rudolf Schenker – rhythm guitar, backing vocals (2, 3, 8), lead guitar (6, 7, 9)

Matthias Jabs – lead guitar, rhythm guitar (6, 7, 9)

Francis Buchholz – bass, Moog Taurus

Herman Rarebell – drums

Klaus Meine and Herman Rarebell co-wrote two songs on this album: "Bad Boys Running Wild" and "Rock You Like a Hurricane" which are the first and second songs, respectively. The lyrics for the other songs on this album were written by Klaus Meine.

The score was composed by Rudolf Schenker, with minor exceptions.

Note: I had to remove the first cover for Love At First Sting because it set off Tumblr's mature guidelines for some side boob and the tattoo gun. The one shown below is the 'clean' alternative version.

Random fun fact: Love at First Sting was one of the first digitally recorded heavy metal records ever released.

The Song

The song was written by Klaus and Herman, and according to Schenker was the result of “...Klaus’s very romantic, harmonic mind and Herman’s very dirty mind.”

As a song, “Rock You Like a Hurricane” was conceived as the album’s centerpiece, a statement of intent that would showcase everything the Scorpions did best: big riffs, bigger hooks, and unrestrained energy. The result was electric. From its opening guitar, a perfectly constructed blend of menace and melody, to Meine’s soaring vocal delivery, the song radiated confidence. It wasn’t just about rocking hard; it was about commanding attention.

Fun fact, Rarebell admitted in an interview that was during the writing process the song was called Fuck You Like A Hurricane, and the record label shut that shit down because of course they did. The original title would have made it so no radio station would ever play it.

Rarebell told Classic Rock that the lyrics were nothing if not autobiographical and perfectly reflected the rebellious mood of the 80s.

Score

"Rock You Like a Hurricane" is a masterclass in 80s hard rock arrangement, defined by Rudolf Schenker's iconic opening guitar riff combined with the syncopated, urgent drum beat by Herman Rarebell.

The rhythm is set to a moderate tempo 4/4 rock beat that clocks in at an average of 126 beats per minute (BPM). The BPM fluctuates throughout the song, ranging from 121 to 129.

The structure is a classic verse-chorus form that builds tension in the verses that is released in the chorus.

Guitarist Matthias Jabs plays the iconic opening riff which is instantly recognizable, and the melodic yet aggressive guitar solo that delivers the song's dramatic arc. The use of a flanger effect on the guitars, creates a unique swirling, hypnotic sound that stands out from other rock songs of the era.

Rock You Like a Hurricane Lyrics

A key part of the song's success is Klaus Meine's vocal performance with his distinctive, soaring tenor delivering the lyrics with a mix of aggression and melodicism. The lyrics leverage a direct, assertive narrative voice and relies on metaphor and innuendo to convey its message of sexual satisfaction and dominance. The provocative double-entendres were a signature part of the band's appeal at the time of release.

Let's get to it.

[Verse 1] It's early morning, the sun comes out Last night was shaking and pretty loud My cat is purring, it scratches my skin So what is wrong with another sin?

The lyrics start :33 seconds in, after the instrumental introduction. I miss these, they're so beautiful and help to set the tone for the journey we're about to go on.

Anyway, the lyrics start on an early morning with a rising sun. There's something primal about the sun as we associate it with life. The sun speaks to a primal part of our brains, as there is no life without the sun. The appearance of the sun sparks something inside of us even without us realizing it. To some extent, some of us are designed to rise with the sun, especially depending on the phase of life we're in.

That to say, from the first lyric we are encouraged toward our more primal natures, which in this context is all about desire. All with the introduction of sun imagery.

So, the song starts in the early morning while reflecting on a wild and loud night that the narrator felt was "pretty loud". Referencing a purring cat and scratching skin the narrator brings in two elements: the content satisfaction that we associate with purring cats, and the intentional blurring of pleasure and pain. Given the content imagery of a purring cat, there is an illusion to satisfaction.

Light and darkness is a constant motif used in the song, the reference to the rising sun with reference to the previous night.

The question: "So what is wrong with another sin?" opens up the potential for morning delights and picking up from where the narrator and their partner left off the night before.

The tone of the song focuses on embracing 'forbidden' desires in the context of religion and sin, which was more prevalent in the 1980s.

[First Pre-Chorus] The bitch is hungry, she needs to tell So give her inches and feed her well More days to come, new places to go I've got to leave, it's time for a show

The pre-chrous shifts the dynamic and brings us back to animal imagery and primal and predatory desire. Yes, bitch is how some men refer to women, but it is also the name of a female dog. Given the first verse referencing a purring cat, it seems more focused on the animalistic nature of desire, so when humans are "hungry" we are like the predators that surround us.

Unashamed and open carnal imagery is used to convey a raw and demanding hunger that must be satisfied at all costs. With the reference to sin from the previous line, the narrator doesn't seem to even consider not satisfying their desires. After all, what is one more sin when you're already a sinner?

The narrator continues this with a sort of restless momentum and need for movement. Once satisfied, there are new places to go, more shows to perform, and significantly, more women out there to rock. The transient and hedonistic lifestyle embodied by traveling rockstars on is not quite like anything else and that is exactly what the song was paying homage to.

[First Chorus] Here I am Rock you like a hurricane Here I am Rock you like a hurricane

The explosive chorus is a powerful declaration of intent, not just a statement, but a promise of an overwhelming, all-consuming experience. Much like the unstoppable force of a natural disaster, you do not run from a hurricane, you experience it. A promise of pleasure and a declaration of power expertly crafted.

The verses throughout the song build up the tension and the chorus serves as a climax with a memorable and energetic hook that encapsulates sexual power.

[Verse 2] My body is burning, it starts to shout Desire is coming, it breaks out loud Lust is in cages, 'til storm breaks loose Just have to make it with someone I choose

Verse two builds on the previous theme of animalistic lust that was mentioned in the first verse and prechorus. The fire imagery is a call back to the sun, about how as they move through the world, as the sun goes down and they're on stage, the performers themselves embody the power and fire of the sun. Burning, shouting, desire, breaking out, loudness, lust, storms breaking loose, all reinforce the imagery of a primal and powerful desire that cannot be contained and will eventually break free.

Lust in a cage as a metaphor for pent up passion on the verge of breaking loose when the narrator chooses and connects with someone to satisfy their urges. It's a game of choosing and having almost unlimited options.

What makes the lyrics particularly clever is that they are both sexual and a representation of the chaos associated with fame. The narrator becomes an unstoppable force when living living life at full throttle. Meine captures this duality in his deliverer: he’s both the seducer and the swept-up victim of his own storm. 

[Second Pre-Chorus] The night is calling, I have to go The wolf is hungry, he runs the show He's licking his lips, he's ready to win On the hunt tonight for love at first sting

The first and second verse contain contrasting imagery that illustrate what is truly important. First is morning and second is night. The first verse does refer to last night as well, showing that the focus for the day is always what comes at night: desire, primal lust, and the fucking like a hurricane.

The evolution from cat, to dog, and now wolf shows the growth of the narrator throughout the song and likely throughout their career. The narrator's desire, like the animals, grow in size, dominance, and aggression. As the narrator grows in skill and confidence, so to do their instincts and predatory nature. The hunger (arousal) comes with the night and it is the wolf that runs the show.

The wolf does not just run the literal rock show, but also the life of the narrator. The imagery of a hungry wolf roaming and seeking prey is an interesting way to frame this moment as it's a very 80s means of representation sex, arousal, and satisfaction. Given the life of most musicians, and the fact Rarebell wrote this and is the drummer (the second most fucked member of the band), it is no surprise that Meine and Rarebell get pick of the litter, to choose a phrase that stays on theme.

The lust for sex is first and foremost in the song, but it is 'hidden' so to speak more so than modern music. That is not to say that older music is better, but I do think it's more creative in the sense that they couldn't just say "fuck you like a hurricane", and had to hide the meaning of their lyrics in metaphor and innuendo.

Another curious aspect of the song, especially this stanza that fits Billy better than anything else is "he's ready to win" despite the fact that Billy does not win in the narrative, he does win the fight against Steve at the end of the season before losing to Max. In the context of this song, it is curious that they have a girl be the thing that ultimately causes Billy's downfall.

"Love at first sting" is a reference to the album's title. Of all the songs on this album this is the only one that connects the single with the larger work. It encapsulates the song's theme of a love or attraction that is alluring, exciting, and dangerous. Not to mention, the Scorpions have stringers and are well known for fast strikes. Once again, as with the first verse, there is reference to a mix of passion and pain.

Compare this to Billy who at the end of the season is cornered in the Byers' kitchen and only then does he sting. He strikes out at Steve with numerous blows. Much of the relationship with Billy and Steve is a build of passion and pain. The basketball game, the constant conflict, the homoerotic tension, and of course, their final fight.

[Third Pre-Chorus]

[Second Chorus] Here I am Rock you like a hurricane (Are you ready, baby?) Here I am Rock you like a hurricane Here I am Rock you like a hurricane (Come on, come on, baby) Here I am Rock you like a hurricane (Woo) Rock you like a hurricane

One thing I love about this song is that the chorus is different in each iteration. Yes, the lyrics are repeated, but there are differences in performance that makes the song interesting. I love when artists vary their chorus' so it's easier to tell where you are in the song. It also adds a sense of suspense and build up.

The second and third chorus' contain "Are you ready, baby?" is an invitation to the listener to embrace their inner beast, join in with the hunt, the performance, the spectacle, and come along for the ride through the song. That is supported by the tension that grows in the verse and is released in the chorus.

[Verse 1 - repeat] Generally speaking, Verse 1 repeats are not rare, but are also not especially common. However, by bringing this verse back for a repeat, it brings the listener full circle. In the second verse, the hungry wolf is on the prowl, hunting for satisfaction, and the return to the first verse tells us that the same thing happened again.

Sex, drugs, and rock and roll indeed. Herman's message of the song and his lifestyle of waking up with yet another loud lady from the night before. Full circle, here we are again, in the morning after. Presumably it's time for round two?

[Third Chorus] Here I am Rock you like a hurricane (Are you ready, baby?) Here I am Rock you like a hurricane Here I am Rock you like a hurricane (Come on, come on, come on, come on) Here I am Rock you like a hurricane Here I am

The song ends on a final chorus and the music remains strong as it goes through. The delivery of "Come on, come on, come on, come on" is quite suggestive and could also be said in another situation. It was indeed time for round two it seems.

The final "Rock you like a hurricane" is drawn out as the guitars play. Iconic.

Similarly, the final "Here I am" has the guitars fade out, but the drums keep up and punctuate each word. That's how the song ends. Perfection and a perfect way for Rarebell to wrap up the song he co-wrote in relation to his life of sex, drugs, and rock and roll.

Sound Design

The sound design team does the most and we stan all the hard work they did to introduce Billy in the best way they could given their understanding of his character at the time of his introduction.

Repeated from the Trans-diagetic sound section above:

Billy's introduction scene uses trans-diagetic sound across all three zones. The sound of the Camaro (offscreen) starts with Steve and Nancy in frame. As the Camaro rolls into the parking lot, we assume that that "Rock you Like a Hurricane" by the Scorpions plays through the Camaro stereo (onscreen). When the Camaro turns off and he gets out, the song keeps playing (non-diagetic). The original source of the song is gone as the car is off, so the characters don't hear it, just the audience does.

source: tomatette

Disclaimer: As with Talking In your Sleep, one could argue that 'Rock You Like a Hurricane' is non-diagetic sound. Given the way the scene is framed and how the audio is mixed, that doesn't seem to be the case. My bet for why the song is cut the way it is due to licensing and money. The Scorpions are notoriously difficult to get rights from.

With that out of the way, let's talk about balancing.

The sound design for the Camaro is magical. The focus in this scene is not that the Camaro is loud and disruptive, it is more that the sound of the Camaro is different.

Everything in Hawkins has quiet, relaxed and normal small town vibes. Then in comes this new, somewhat loud, flashy car. The introduction of Billy promises disruption, a change to the status quo. Rock and Roll has arrived in Hawkins.

Although the Camaro is framed as being loud, the Camaro and the music itself are not that loud throughout the scene. All things considered, the sound is reasonable. The audio of the instrumental intro to "Rock You Like a Hurricane" and the Camaro's engine are well balanced. The Camaro is just a bit louder than the song, which means that from a mixing perspective, the music is at normal volume and non-disruptive volume. Although Billy is notorious for playing loud music, the music on the stereo is not that loud and at a reasonable volume in the scene.

This is to say that although Billy is drawing attention to himself, it's not an over the top display. Yes, we hear Billy, but he is not blasting out our ear drums. There is no reason to believe that anyone in the scene is having their ear drums rocked out. The purpose of the sound design in this scene, and several other Billy scenes, is to demonstrate that Billy is different from the others in Hawkins.

The song and the Camaro are blended together so well that some people cannot hear the first few chords over the sound of the revving engine (more detail on this soon).

Rock You Like a Hurricane: Introducing Billy

How does it feel knowing that Billy's introduction is only a 1 minute and :02 seconds long?

Given the length of the scene and (presumably) the royalty agreement with the Scorpions, Stranger Things only plays the introductory cords and a modified version of the chorus.

Billy's introductory plays about :26 seconds of the instrumental intro. The sound engineering is subtle and masterful, because believe it or not, the Camaro sound and the song start at the same time, but the start of the song is so quiet and subtle that it's hard to hear over the engine of the Camaro. The intro chords to the song are expertly blended with the initial vroom of the Camaro's engine. Few people can read music, so I am not including the chords for the song, but the intro starts with Rudolf Schenker on rhythm guitar, followed by Francis Buchholz on bass, and Herman Rarebell on drums.

The lyrics used for Billy is a combination of the second and third choruses and we know that because not only are all the choruses different, but they are also preformed differently. In the middle of the Tina's dialogue, there is another subtle cut that expertly splices from the second into the third chorus.

For brevity sake, I cut the audio analysis identifying this because it's fairly obvious that's where the lyrics playing over the scene came from. Not to mention, very few people can actually read music, so I felt it was a lot of unhelpful jargon.

The version of "Rock you like a hurricane" created for Billy's introductory scene is non standard, and repeats "here I am" twice at the end, which does not appear anywhere in the song. This will be important later.

The entirety of "Rock You Like a Hurricane" is not played, presumably because of time and licensing. The original song is 4 minutes and :12 seconds long.

As we all know, Billy shows up in the scene to the tune of "Rock you Like a Hurricane" interrupting Steve and Nancy. Notice that as Steve and Nancy speak, you can still hear "Talking in Your Sleep" quietly playing behind them. The music in the car only stop when it's over taken by "Rock You Like a Hurricane".

The song Rock you like a Hurricane starts in the morning after a loud night, granted the insinuation of the two songs is different. In one song, the narrator longs to be wanted, needed, and loved. In the other, the narrator wants to get off.

Again - you cannot make this shit up.

Importantly, this is the last time that Nancy is able to say "I love you" to Steve and the voice she says it in is higher pitched than her normal speaking voice and she breaks off at the end, almost like the words die in her mouth.

Billy's arrival marks the end of Nancy being able to express love for Steve.

Anyone remember the lyric that plays over when the audience sees Billy's face for the first time?

Here I am.

Wake up, Steve. Your dream has arrived.

The Lyrics used in Billy's Introduction

By now, everyone should be aware that, "Here I am, Rock you like a Hurricane" is the chorus.

Given that I was a professional audio engineer for several years, the most compelling part of this is a timing joke. Instead of using the first chorus, the engineer chose the second. Therefore, Billy appears on the 1st "Here I am" in the 2nd chorus, and this is Episode 1 of Season 2. I bet you anything this is a timing joke, which is just the sort of shit I would expect an engineer to pull in this situation.

Bravo.

Billy's introduction scene plays the following lyrics:

[Second Chorus] Here I am Rock you like a hurricane (Are you ready, baby?) Here I am Rock you like a hurricane Here I am [Third Chorus] Rock you like a hurricane (Come on, come on, come on, come on) Here I am Rock you like a hurricane Here I am

The first Here I Am is the line most associated with Billy since it is what plays over his face the first time we see it.

Most importantly, the first instance of "Rock you Like a Hurricane" does not play when the camera shows Billy, it plays over Max getting out of the car. As she drops her board and skates away, the subsequent lines "Are you ready baby" / "Here I am" play.

Between the two siblings, the song itself tells the audience exactly who MadMax is. The mystery makes the boys think the one good at video games is a boy, but given the dynamic set here, there is no doubt. Max is actually the one here to rock everyone and everything up. Max is the one who enters the supernatural plot, gets along with the boys, and all of this is conveyed in the song that everyone associates with Billy.

Max is the one that rolls in and takes Hawkins by storm. We are told Billy is the one doing that, but it is not at all what we are shown. Both in this introductory scene with Billy and Max, and the show in general.

The second and third chorus' both contain "Are you ready, baby?" but they are performed differently, as is the second instance of "rock you like a hurricane".

The uniqueness of the second chorus is likely why it was chosen for Billy given that it is in the middle and it is also the second.

The reason for that is likely because he is the second introduced in the series. The second what, you ask? Billy is second in many things. He is the second Steve, the second bully character, the second leader of Tommy, the second king of Hawkins High, the second William, the second William called a faggot by his father, and the second host for the Mind Flayer.

In short, Billy as a character is a story of representing the second. I believe this extends further into this being the second season and maybe even a meta joke about Billy being in only two seasons.

TL;DR for this part is that I genuinely think the sound engineers were doing the absolute most with this and they went hard to give us thematic music parallels that are quite frankly more interesting than anything the Duffer's came up with.

All hail the audio production team, which I cannot say enough good things about.

The final "Rock you like a hurricane" in the third chorus is cut, and fair enough the scene is short, but it's curious that they cut the name of the song and presumably the mood they are trying to use to establish Billy. Wouldn't it have been intentional to show him walking into the school, or have another shot of Billy prior to the song ending? It seems strange to end his scene on three members of tertiary characters.

The final "Here I am" is actually the final lyric of the song.

Here I Am

When we combine the visual and audio elements, the focus on Billy in this scene is "Here I am", not "rock you like a hurricane", which is both funny and perfect audio for this scene. The focus of this introduction is that Billy is here — that he has arrived in the story.

The focus of Billy's introduction is that he's here and that is just so on the nose for an introduction scene, so give the sound team props because it makes sense and it's funny. This is further supported with the fact that the lyrics Rock you like a Hurricane are only played over Billy once when he is turned around and walking away. Later "hurricane (Come on, come on, come on, come on)" is played on Billy's ass back as he walks away, below the audio of Tina saying "Just look at it go," so the lyrics are quieter than her speaking.

As much as it hurts, the truth of the story is Billy never rocks Hawkins like a hurricane. In contrast, Hawkins and the Upside Down rock Billy like a hurricane. Much like natural disaster, they sweep in and ruin his life, which leads to his death.

So to wrap up, I leave you with this:

When the first time Here I am is played, we see Billy, standing out in the open, framed in the background by the school and trees, and the sun on his face and shining through his hair.

source: tomatette

When the final, non-standard repetition Here I am is played, shows Will through a small, cramped shot from inside his locker such that it looks like a closet. Metaphors aside, perhaps this shot shows us the opposite of what Will sees. We look out into the light and therefore, into the real world. Will, on the hand hand, sees the darkness, and this season is defined by his ability to see into the Upside Down.

The experience of the Upside Down has not left him.

Also, there will be another target, one bathed in sunlight. Another William that will become the host in his second season.

Just like Will.

source: tomatette

In the first season, Will is captured. In the second season, he becomes the host.

In his first season, Billy is kept away from the plot. In his second season, he becomes the host.

The number two (or second) is often associated with Billy and Will and this is just another one of those many examples.

By having a non standard number of "Here I am" lines inserted into the chorus, the total is five. It's one extra from a perfect four. Something is unbalanced and uneven. Someone will lose the battle with the Mind Flayer.

Framing the first and last "here I am" on Billy and Will, respectively, promises that there is some sort of connection between them that will come around at some point.

Boy, do I wish this went somewhere.

Also, notice how much longer we spend on Will's face than Billy's? These gifs had to be remade to look less awkward because of how little of Billy's face we see and the limited time of his full face shot is. Billy is introduced in a way that no other character is, where we meet his entire body before his face. No other character in the series is introduced this way.

Billy's face is given very little focus, almost like we're being told that who he is as a person is not important, it's his body that should be given focus and attention.

His ass on the other hand? In the 1 minute introduction, his face is given :03 seconds of screen time. His ass is shown for about :06 seconds. His body, without his face, is shown for :12 seconds.

Makes you wonder what's really important here, huh? What's here? Billy? His body? His ass?

As someone who is a huge fan of data, let's add more into the mix. When we break down the lyrics used in the scene, most of them don't even play over Billy. If we break the lyrics up by words, there are 42 words played from the song.

40.5% of the lyrics play over Billy (17 words out of 42 words)

59.5% of the lyrics play over other characters in the scene

The breakdown for the other characters is as follows:

28.6% play over Max (12 of 42 words)

23.8% over Vicki, Tina, and Carol (10 out of 42 words)

7.1% of the lyrics play over Will (3 out of 42 words)

With most of the words not playing over Billy, it's a little amusing that this is supposed to be his introduction, but it also serves as Max, Tina, and Vicki's introductions since they have also not appeared in the show before. It's an introduction bargain sale, I guess?

At least Tina and Vicki get to talk in their introductions!

In Part 1, I joked that they told us who Max is when the Camaro enters. That MadMax has arrived. But at the end of this scene, they reveal both "names" in this scene.

MadMax is the girl, the gamer girl who arrives riding shotgun.

The driver, Billy, is parallel to Will. "Here I am" with a direct transition from Billy going into school to Will opening his locker visually connects them quite beautifully. On a rewatch, this scene told us Billy's (real) name too: here is the second (and older) William.

If only this went somewhere.

There are many visual parallels between Will and Billy, but the two of them are never meaningfully together on-screen. The only scene in which they appear together is in the sauna but the two of them do not interact as the Mind Flayer Billy is more focused on Max and El. You'd think the hive mind would have some interest in it's first host that is still connected in some way, but apparently not!

More interesting things that happened off screen!

Analysis of Rock You Like a Hurricane: Introducing Billy

Rock You Like a Hurricane is a bold choice to introduce Billy, especially since the message in the song does not match the show elements of Billy in this particular scene.

Granted, the sun is behind him and we get a lens flair effect on Billy, but we do not get the suave, confident, and sexual rock star that is promised. As described in Part 1:

Despite hearing the girls discuss him, he doesn't react with positive emotion. There is no saccharine smiles. He does not approach them, or flirt, or wink, or acknowledge them at all. He turns and walks away like he doesn't know what to do or how to act. Billy hears them and chooses to walk away without engaging with them at all. That is the character established in this scene. Someone avoidant, insecure, and shy. [...] Billy is shown to be anxious, disoriented, attractive, and avoidant.

The power and dynamics of the song do not match the character we see on screen. Granted, this is an introductory scene, but the most important scene where Billy is present, he does not speak, and instead of establishing him as a hurricane, as someone who is here that is going to change everything, his introduction is used to establish him as having a nice ass and a object of female desire.

If you're interested, rewatch the scene with extra attention on the interplay between the visual and audio elements.

Now, some could argue that much like Meine (the singer), Billy is on the hunt and looking for the one he will choose, but... again, the show and tell elements are discordant because if there is anyone in the narrative Billy chooses and gives attention to, it's not any girl in Hawkins.

Compare how disinterested and frustrated Billy is when he's with Vicki. (Also, Abigail, girl, what the hell happened to your wig?? You poor girl. You went for a ride with Billy on your worst hair day.)

source: tomatette

To how Billy looks at Steve. Even when he's angry, Billy smiles at Steve.

source: talesfromthecrypts

If Billy hunts and chases after anyone this season, it's Steve.

Conclusion

Introducing Billy with a rock and roll song about someone hungry and on the prowl for sex, only to have him not do anything bold, flirty, or impressive in his introduction is a bold choice. If anything, it makes him look like the prize rather than the predator.

The music in Billy's introduction does a lot of heavy lifting and is one of the reasons he is liked as a character. By introducing Billy with a sex, drugs, and rock and roll anthem, the Duffers promise a to deliver a character that does not appear on screen.

Rock You like a Hurricane does not fit Billy in the sense that he is not here to fuck women and expertly prowl like a wolf. Now, there are some instances where Billy has a predatory nature to him, but again, most of those events center around Steve.

The discordance between the show and tell elements makes many viewers look at the scene differently. There is just something slightly off that some may not notice the first time they watch. But the disconnect between Billy as the show progresses simply grows.

If anything, it shows that the 80s rock and roll suave fuck boy is a persona that Billy adopts in Hawkins because that is what Hawkins wants and expects of him.

Perhaps this poor writing on the Duffer's part? Perhaps it's the clash between the writing the Dacre's vision?

Regardless, the tension is there.

Next Time

Part 3 will cover Billy's transition from the Virgin to the Whore.

Part 4 will cover the music of the scenes involved in Billy's transition from Virgin to whore.

Shout outs