Using the dual meaning of "nagging man" with noise and "singing man" with singing as a word, he expressed a message that he would never be discouraged by other people's nagging and would never be discouraged by what to say.

The contrast is between "nagging people" who constantly nag at each other and the confident "singer" Stray Kids who will continue to do our own music by saying what they have to say.

The grand melody and the colorful and diverse sounds of traditional Korean traditional music have been added to enhance the fun of listening, and the chants such as "Rushing Boom Boom Boom" and "Bread Bang" complete the peak of Stray Kids' unique excitement.

The title "LALALAY" and confident lyrics are derived from our instrument taepyeongso, which is placed throughout the music, showing a distinct presence.

The taepyeongso is a special instrument that makes different sounds depending on the performer.

Sunmi, who found the identity of the song in the taepyeongso, where the voice itself becomes a signature according to the player with a small body, chose the title "LALALAY," a different word for taepyeongso, and in her own lyrics, she transformed it into "LALALALAY," "I NAWHTY," "Captain" and "NALLA."

The performance of Taepyeongso, who led the musical concept of the new song "LALALAY," was participated by Lee Il-woo, a member of the band Jambinai, who is expanding the original music world based on our traditional music.

Pungmul Nori is a folk music that combines dance and play in the lives of ordinary people.

You can enjoy various performances such as kkwaenggwari, gong, janggu, drum, and sogo, as well as playing various kinds of games such as spinning sangmo and bona.

☆Pangut: Music and play such as tightrope walking of puppet show by geollippae of yeonhuipae in the wide yard of villages.

Beokku dance: Beokku is a word indicates not normal and slightly lacking. The instrument called "Beokku" is called by that name because it is neither big nor small. Beokku dance is a stage version of Pungmul Nori, which was played in the coastal area of South Jeolla Province.

Yeonhui playground 'The Nolja' (Beokku dance; Jung Ji-hye, Taepyeongso;Jeong Jin-guk):
- It is an organization composed of members of the Siheung traditional Music Association, which strives to publicize the charm of traditional performances with the splendor of Pungmul and cheerful dance.

In Korean traditional music, oral sounds are played by mimicking the distinctive tones of the flute, salted fish, and janggu.

In the case of a mouthful, it follows the tone of a flute or a paddle, but it is not constant, and sometimes it is sung on top of a song.

As in the case of Sinawi, the rhythm consists mainly of Salpuri and Deng Dekungi (Jajinmori), and sometimes other rhythms are used.

The form of the performance is sometimes sung as a solo to the accompaniment of the janggu, but usually together with the chorus of the sina.

And this note is often used for the Salpuri dance and dance accompaniment to the guitar Sinawi.

Therefore, the name of this music should be called Gueum Si Nawi, but the composition of the music is usually called Gueum Salpul because it is usually composed of Salpuri rhythm.

In addition, because the oral sound is expressed in voice in any case, it may have to be a Namdo master singer who has reached a considerable level musically, and is usually good at Pansori masterpieces.

Sandae nori refers to the mask dance of the central region. Songpa Sandae Nori is a popular play that combines dance, mime, words of virtue and humor as a branch of Sandae-do Gamgeuk enjoyed in Seoul and Gyeonggi Province. This play was performed every year on the fifteenth day of the first lunar month and on Dano, Baekjung, and Chuseok.

Songpa Village was the commercial base of Gyeonggi Province, and it was said that about 200 years ago, when Songpa Market was the most prosperous, Sandae Nori became popular and was completed in the form of a play that still conveys to this day. Songpa Sandae Nori consists of seven chapters, and prior to the play, it is equipped with masks and costumes, played on the road to the venue of the performance while playing music, arranged masks and performed ancestral rites.

The composition of the play, exaggeration, dance, and mask are almost similar to Yangju Byeolsandae Nori, but several masks, dances, and roles are characterized by their old forms. In other words, in Yangju Byeolsandae Nori, the cremation dance moves that have already disappeared, and the masks of the mother of childbirth, Shin Hal-mi, and the shaman remain, so there are separate roles for these masks. Thirty-three masks made of a bowl, pine bark, and paper are used, and the play style, like other mask dances, is mainly dance, accompanied by jokes and movements.

Miryang Baekjung Nori refers to a play in which the servants, who had been busy farming and had been working hard, chose Yongnal around July 15 of the lunar calendar to take a day off from the landlords.

This type of play is common in rural areas in the central and southern regions of the country, where rice farming was mainly done during the Homi washing season. In Miryang, it is also called Geombaegi Chamnol because it is called Munchaegi Chamnol because it is called Munchaecham, which refers to liquor and food prepared by landowners.

Baekjung Nori in Miryang is composed of Nongsinje, smallpox horse riding, dance boards, and back games. When the festival begins with Obangjingut while playing nongak, the three generations of Nongshin University are set up in the yard and the dragons are tied together.

Standing in a circle around Nongshin University, one of them reads a congratulatory message while bowing down three times. Sock-dum-riding is a game in which an outstanding farmer is selected from among the servants and mounted on a horse made of woodpecker woodpecker to cheer them up with nongak.

The dance starts with the yangban dance, and if you dance slowly to the rhythm, the servants drive out the yangban and perform the humorous Byeongsin dance such as dwarves, Jungpungjang, Paebulttugi, Kkoburi Halmi, Seolleun, Mundungi, Gopchu, Hijuldaegi, Volunteer, and Jeolreumbal.

Subsequently, the Beombu dance and Obuk dance were performed, in which the two alternately performed a trick in front of Janggojab. Obuk dance is a unique dance that can only be seen in Miryang, where five drum jabs dance roundly or move inside and outside the circle, making it a powerful and stylish dance.

The back play is a dance in which all the players mingle together in the sense of harmony, and each of them is decorated with individual or impromptu dances, as the rhythm and rhythm change frequently.

The characteristic of Baekjung Nori in Miryang is that the resentment of the common people and the common people is humorously expressed in the whole play. Byeongsin dance and Obuk dance have been handed down only in Miryang, and Bae Gimnae son-in-law's dance moves are the main dance moves of the game, and it is unusual for him to move his right and right feet, his left and left feet move together.

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

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

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

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

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

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

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

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

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