-All right, buddy.
-Oh, good. -Here’s how —
-Good. I love doing things with you. [ Laughter ] -Here we go, here we go.
-Okay. -All right.
I don’t like this, either. Here’s how it works.
We’re gonna have a number of mystery objects
brought out in front of us, and our job is
to guess what each one is. The catch is that we have to
figure it out by touch alone. We can never see
what’s in the box. -Oh, gosh.
-I know. I’m gonna freak out. I thought I smelled an animal
backstage. [ Laughter ] I think I did.
-Was that you? [ Laughter ] -All right. So, Selena, since
I’m the host, I’ll go first? -Okay.
-Wait. What? All right,
let’s get to our first object. Oh.
-Can I see what’s…? -Yeah, you can see it,
but don’t lie to me and make it —
if it’s crazier than it is. [ Audience “Ohs”, laughter ] -Ha!
Go for it. -Ah. Here we go.
[ Inhales sharply ] [ Cheering ] -Oh. Oh! [ Laughter ] -What?!
Go for it. -No, but he said
something weird. [ Laughter, cheers, applause ] ♪♪ -Aah!
Gross! -What the heck? -Ooh! Ew!
[ Laughter ] It’s — uh, uh, a egg? -Yeah.
-Egg? [ Ding! ]
[ Cheers and applause ] ♪♪ -That was a lot. -This is the first one.
It’s kind of easy. -You barely touched it.
-I touched it enough. I touched it enough
to know what it was. -Okay.
-It was — I didn’t like its viscosity.
-Okay. [ Audience “Oohs” ] [ Laughter ] -[ Laughing ] Oh. Oh-ho-ho! [ Audience screams ] ♪♪ -I feel like it’s hair. -Yes!
It is hair. Oh, my — Wow! [ Ding! ]
[ Cheers and applause ] ♪♪ How did you —
You have guts, man. -I don’t even want to see it.
Just — Just go away. [ Laughter ] That’s so gross. No!
[ Laughter ] -All right.
My turn again. Oh, no!
-[ Laughs ] -I feel like the rounds
get crazier. -Oh.
[ Cheering ] [ Audience “Ohs” ] ♪♪ -I don’t — -Whoo!
-Whoo! -Whoo! [ Audience shouting ] ♪♪ -Yeah?
-No! I didn’t feel anything. I’m just freaking out.
[ Laughter ] -You can do it!
-Gosh, oh, gosh, oh, gosh. -Come on.
-All right. ♪♪ Aah! [ Audience shouting ] ♪♪ [ Buzzer ] -Is it like a tongue
or something? -Oh. -Is it like a chicken
or a tongue or something? -Nope.
It’s a brain. -Ew!
What the — What?!
[ Laughter ] Wait.
What in the what? -Is it real?
No, it’s not real. -Is that a real brain? -It’s a cow brain. -It was cow brain? Get Purell right now.
This is insane. -Ew.
[ Laughter ] -What’s wrong with people?
Okay, get this out of the way. This is good.
All right. The final round.
-Is this the final? -Well, it is for me. Sure.
-Okay. -That was
the final round right there. Cow brain.
All right, this is up to you. -What do I do?
[ Audience “Awws” ] That’s sad.
What do I do? -All right,
you do the same thing. -I do it?
-Yes, you do it. [ Laughter ] [ Audience screams ] -Is it my dog? No.
[ Laughter ] ♪♪ I don’t know what the [bleep] [ Laughter and applause ] -Hey! hey!
Come on. -I’m sorry.
-It’s a family show! You see what you made her do?!
-I’m so sorry. -You see what you made her do?!
You see what you made her do? -Oh, that’s so cute. -Wait. I get cow brain,
and she gets a stuffed animal? [ Laughter ] -I’m so sorry.
-Get this thing out of here. I can’t believe it.
-I’m sorry. -All right, it’s time
for the final round. For this one, we’re both
gonna get the same item. The first person
to guess it wins. -Okay.
-All right. Let’s do this. -Yep. All right.
-All right. [ Audience “Ohs” ] ♪♪ [ Audience screams ] -Do you smell that? What?
It’s, like, food. ♪♪ -Smells like… [ Audience screams ] -No. ♪♪ I think it’s food
for, like, a duck. No? ♪♪ -Oh, my God!
-What? What? [ Buzzer ]
-It is so gross. It’s, like,
maggots or something. -No!
-What are they? -No!
-Oh, my gosh! -Oh, my God.
-What were they? [ Cheers and applause ] -What? -Those are mealworms. Judges, who is the winner? Audience, what do you think?
Who won? -Selena! [ Ding! ]
-Selena Gomez, champion. Mealworms. Stick around!
We’re talking to Selena after the break, everybody! [ Cheers and applause ] ♪♪
If you have watched any Retro Game Mechanics
Explained videos before, you have heard the little jingle that plays at the start of each
video. This sound effect is from Super Mario Bros.
3, a glitched version of the 1up sound. If Mario spins his tail at the same time he
collects a 1up, the two sound effects combine and produce this extended version. The reason this happens can be explained in
less than 10 seconds, but let’s look at how SMB3 queues up sound effects that are ready
to be played. We may be able to find an underlying cause
for this programming mistake. Super Mario Bros. 3 fittingly has 3 queues
for sound effects. The first queue is for sound effects that
use the first square wave channel. These include the jump, bump, swim, kick,
pipe, fireball, p-meter, and frog suit hopping sounds. The second queue is for effects that use the
second square wave channel. This includes the coin, powerup out of a block,
vine out of a block, boom, text beep, powerup, 1up, poof, an unused sound, losing Kuribo’s
shoe, and tail wagging sounds. The third queue is for effects that use the
noise or triangle wave channels. This includes the breaking brick, fire cannon,
boomerang, airship flight, hammer bro marching, and Mario skidding sounds. Each queue uses two bytes to help with managing
sounds. One byte is used to determine what sound effects
should begin playing on this frame. The other byte is used to tell which sound
effects are currently playing on this channel. Each sound effect in each queue is represented
by a single bit. When a sound should be played, its corresponding
bit will be set. If more than one sound is triggered in one
frame, then both of those bits will be set. When it comes to actually playing the sound,
the entire byte is examined, starting from the least significant bit and working upwards. This means that sounds that are assigned lesser
significant bits are prioritized over higher significant bits. After the sound is initialized, the whole
first byte is copied to the second to keep track of what sound is playing. For example, in the first queue, the jump
sound effect is assigned to bit 0, so it will always play instead of the other sounds in
this group. Jump and throw a fireball at the same time,
and only the jump sound will play. However, jumping on one frame, then throwing
a fireball on the next frame will cause the fireball sound to overwrite the jump sound. This happens because when the value is transferred
from one byte to the other, currently playing sounds are halted. This method of assigning sounds to bits makes
for an easy priority system when more than one sound is played on a single frame. If the sounds were assigned to entire bytes,
triggering one sound could overwrite the other, and this would be dependent on which triggered
first in the game’s code. The one downside to this method is that one
byte can only control 8 sound effects–one for each bit. If they were assigned to bytes, 255 different
sounds could be controlled by one memory address (assuming 0 meant no sound). Unfortunately, the second queue has a problem. It has 11 different sound effects assigned
to it. The first 7 sound effects are assigned to
bits, but then the other 4 are assigned to bytes. Combining both systems made for some unintended
side effects. Let’s look at this in more detail. The coin, powerup reveal, vine reveal, cannon
boom, text beep, powering up, and 1up sounds were assigned to bits 0 through 6 respectively. However, if the most significant bit was set,
the queue was treated byte-wise instead of bit-wise. The poof sound was assigned to $80, the unused
sound $90, the Kuribo’s shoe sound $A0, and the tail wagging sound $B0. Now in general, this system worked fine. But, the priority system and having two sound
effects queued at once breaks down if one of them is treated bit-wise and the other
byte-wise. For example, what would happen if a coin sound
effect and a poof sound were played at the same time? The poof sound is assigned to $80, and then
the coin sound is assigned to the least significant bit. When both queued together, the entire byte
reads $81. Now the most significant bit is set, so this
value is treated as an entire byte when determining what sound to play. But $81 isn’t assigned to any sound effect! This is the first flaw of the second sound
effect queue. Let’s organize everything into a nice table. The values of this table will be which sound
effect actually ends up playing when the corresponding value is in the queue. We can fill in the 11 sound effects with their
assigned bits and bytes, along with $00 which denotes that no sound will play. First let’s look at when the most significant
bit is cleared–which corresponds to just the top half of the table. We know the coin sound plays when the least
significant bit is set. So it will play any time this bit is set,
not just when it is set alone. It makes sense that half of the table fills
with the coin, because it has the highest priority out of all the sound effects. Then we move up to the 2nd bit, the 3rd, 4th,
5th, 6th, and finally 7th. Okay, now the other half of the table, when
the highest bit is set. We have these 4 sounds that are assigned specific
bytes, but out here is what we are interested in. It turns out that while the poof, unused,
and Kuribo’s shoe sounds are checked for explicitly, the tail wagging sound is given to any value
that doesn’t match any of the others. Therefore, if the value is not $80, $90, or
$A0, the tail wagging sound will play. So the entire rest of the table fills with
this sound effect. And it checks out! It’s not too difficult to collect a coin on
the same frame raccoon Mario takes damage. If he does, the tail wagging sound effect
plays even when he doesn’t spin his tail. Theoretically, you can get this sound to play
if you combine other sound effects as well. So, let’s look at what happens when we queue
up both the tail wagging and the 1up sounds at the same time. Tail wagging is assigned to $B0, then the
1up is assigned to bit 6, so we end up with a value of $F0 when combined. Hmm, this table is missing something. We have to discuss the second flaw of the
second sound effect queue. It turns out the 1up sound is special. Maybe it came up late in development, but
the designers decided that the 1up sound is really important, and it needs to be prioritized
over every other sound effect. It isn’t uncommon that the extra life sound
effect in games to be prioritized like this, and many old arcade games even chopped out
the music just to play this sound. However, this feature is quite contradictory
of the priority queue system that is already in place. Not just that, but the 1up is assigned to
bit 6, one of the lowest priority sounds. Now our pristine priority queuing system is
being even more mangled when we implement a special case for the 1up sound. It’s implemented a little wonky however. We have to delve a little deeper into the
code if we want to understand it. Earlier it was mentioned that two bytes were
used per queue, one for new sounds to be initialized, and one for the currently playing sound. When a sound is initialized, the value from
the first byte is copied to the second, and the first is reset back to zero. Makes sense, whatever sound we initialized,
keep playing it until it finishes. Once the sound finishes playing, this byte
is reset back to zero as well. But the interesting thing is when more than
one sound is queued at once. Like we already know, only the sound with
the least significant bit assigned to it will play. So it will be initialized, and this byte will
be transferred over, and that sound will keep playing. The same method of determining which sound
to initialize is used to determine which sound will continue to play. So normally the same sound will be found each
time. It would never be the case that one sound
would be initialized, but a different one would be assigned to continue playing. Or would it? The method used to prioritize the 1up sound
over all others only applies to the continue playing byte, and not the initialization byte. For example, if a coin and a 1up were collected
on the same frame, the coin sound would be initialized due to its higher bit priority. But on the next frame and onwards, the 1up
sound will be continued to play, due to the hardcoded 1up priority. You can even hear it a little when you collect
both items at once. The coin plays for a split second, then the
1up takes over. There is one big issue with this disparity. Certain values are loaded into memory when
a sound is initialized. If these values don’t match up with the sound
effect that is actually playing, things may mess up. The 1up and coin sounds happen to play nice
with each other, but some of the others don’t. The major parameter that causes weird things
to happen is the length parameter, which determines how long the sound effect will play. The 1up and coin happen to be around the same
length, so they work fine, but not all of them sound correct. Here are what each of the other sound effects
sound like when played on the same frame as the 1up sound effect. Let’s look back at the table we made. We have to update every entry in the table
that has bit 6 set, which corresponds to the 1up. They all play the 1up sound instead, but a
corrupted version of it, which depends on which sound effect would have played without
the hardcoded priority. Aha! Now we can see that our point of interest,
value $F0, now says it plays a corrupted 1up sound corresponding to the tail wagging sound. But if you think about it, the tail wag sound
is pretty short, why does it produce such a long corrupted 1up sound if the corruption
transfers the length parameter from one sound effect to another? There’s one last piece of the puzzle, and
it has to do with these 4 byte-assigned sound effects. These 4 sound effects are stored in a different
format than the 7 bit-assigned sound effects. They are also stored in a different location
in the ROM, actually along with the sound effects for sound queue 3. Instead of using a counter to determine how
long they should play, they use the same memory address as an offset within the sound effect
data. So in the case of this one corrupted 1up sound,
the length of the 1up sound effect is determined by an offset into the tail wagging sound data
instead of its length. The value of this offset can be relatively
large compared to any of the other sound effects’ lengths. This is why the sound is so drawn out. The notes that are actually playing are actually
the end of the powering up sound effect, since they are stored next to each other in ROM. The two sounds convert the data into notes
differently, so they don’t sound similar, but they do use the same data. Side note here: the powerup sound actually
has a few more notes to it that never play because the length parameter supplied to it
is shorter than the amount of data that actually exists. Here is what it would sound like if it weren’t
truncated. At the start of the video I mentioned the
cause of the problem could be explained in less than 10 seconds. Let’s look at the third and final flaw of
the second sound effect queue. We’ll have to look directly at some assembly
code. We’ll start at the point in the code directly
after it is determined that the highest bit has been set in the queue, and the value should
be treated as an entire byte instead of bit-wise. First, the Y index register is loaded with
the value in the sound queue. It’s compared to $80, the value of the poof
sound. If it’s equal, the corresponding sound data
offset is loaded into the accumulator, then we jump a bit forward. The same comparison is made to $90 for the
unused sound, and $A0 for the Kuribo’s shoe sound. Then, before preparing to initialize the tail
wagging sound, we check if any sound is currently playing right now. If there is, we cancel initialization, and
just work on continuing that sound. This means the tail wagging sound will not
overwrite any currently playing sound. However, if there is no sound playing, we
load in the sound data offset for the tail wagging sound, and meet up with all the other
branches. At this point, Y still holds the queue value,
and A holds the data offset. The data offset is stored into its memory
address, then Y and transfered to A. Then, look at this! The accumulator is ANDed with the value $B0. This is done in the accumulator since there
is no instruction for executing an AND on the Y register. This AND operation is done to specifically
mask out bit 6, so that the 1up sound is specifically cancelled out in case it was initialized along
with one of the byte-associated sound effects. Since bits 0 through 3 are also masked out,
there are only 4 possible values the accumulator could hold after this instruction–the 4 IDs
of the 4 byte-assigned sound effects. Then this value is stored into the currently
playing byte. Wait, what? The Y index register is written to this address
instead of the accumulator! What was the point of the AND instruction
then? And then directly afterward A and Y are both
overwritten with other data! They were so close to preventing this glitched
1up sound, they even thought of it! But for some reason this instruction is an
STY instead of an STA, so all the work was for naught. So the 10 second explanation goes like this:
There’s a priority queue for sound effects. Except it’s really half priority queue, half
hardcoded nonsense. Half of the sound effects conflict with one
another. There was code to prevent it, but the wrong
instruction was used so the conflict persists. Thank you for watching! If you enjoyed the video, please consider
liking it or sharing it with your friends, and consider subscribing to the channel. I have everyone to thank, from every single
viewer, to all of my patrons over on Patreon that help support me and my work. It’s thanks to everyone that I am able to
continue doing what I enjoy, making videos. With all the support I am able to justify
spending the time writing and editing. So just the fact you are listening to this,
-I wanted to challenge you maybe
to a game. -Sure.
-If you don’t mind, to kind of put your music knowledge
to the test. You up for this?
-Yeah. -It is time for One Second
Songs, Songs, Songs. [ Cheers and applause ] Alright. Here’s how this works. -That was the fastest
The Roots intro I’ve heard in my entire life.
-♪ One Second Songs ♪ -Give me another one.
-♪ One Second Songs ♪ -We’re going to hear one second
of a random song. And the first person to grab
this mic and identify the song wins that round. And you have to
start each round with your hands
behind your back. -Alright.
-Let’s get into position. Alright, here we go.
-What if I just, like, glued your hands together —
handcuffed you kind of to the chair. -I’d believe that
the movie is real. -Right, exactly, yeah.
-Alright, here we go. Let’s hear the first song.
-Oh. -“Bohemian Rhapsody” by Queen. [ Cheers and applause ]
[ Ding ] -This is not — you have
a way better angle at this. -Yeah, that’s true, yeah.
-Hold on. -Well, it’s not like your
grabbing from — -Yeah, but you’re at level.
And I have to kind of go up. -Oh, interesting, yeah. Do you want to put it
on the ground? [ Laughter ]
-I’m sorry. Yeah. -Let’s hear the next song.
-“Don’t You Forget About Me.” -Yeah, very good.
[ Ding ] I might get shut out.
-No, wait, really? -If I stand up this will be
easier. -Yeah, yeah. let’s stand up.
-Okay. Alright. I’ll give you an advantage.
I’ll stand over here. -That’s — I’ll take it.
-Let’s hear the next song. -♪ Work sucks ♪ -Blink-182.
“All the Small Things.” -Yes.
[ Ding ] -Why did I talk into it.
-I don’t know why we talk into it.
-There was no reason. It’s just off.
-It doesn’t even work. There’s no batteries in there.
-There’s no batteries. -Sorry, it’s not even
a real microphone. It’s made out of chocolate
we got down at the candy shop downstairs.
-Yeah, yeah, yeah, yeah. -Alright, here we go. Now, I’m
closer because I’m nervous. Let’s hear the next song. -Did I fake you out?
-No. But now you have — -“Never Ending Story.” -Yeah, but that
gave you time to think. [ Ding ]
[ Cheers and applause ] But that was in your last
season. Alright. -It gave me time to Google it.
-Yeah. [ Laughter ]
Mentally googled it. -I have Shazam open in my phone. -For this final round lets up
the stakes a bit. We’re only going to play a
quarter of a second of the song. -There’s no — alright,
whatever. It’s fine. -Whoever wins this is the super,
uber champion. Ready? [ Cheers and applause ] -I’ve heard this song too many
times. It’s Smash Mouth. -Yes.
[ Ding ] Finn Wolfhard, everybody.
[ Cheers and applause ]
-The last time
you were here, we did — This was the last time
I saw you — we did “Hot Ones.” -Yes.
-And we actually ate the hottest wings in the world.
-Right. -And I don’t know if anyone saw
it, but, I mean, this is — It was real. We really ate, like,
the hottest wings. [ Cheers and applause ] -It was — It was not —
It was not great — for me. -Well, it was — it was —
[ Laughter ] -Like —
[ Laughter ] -I mean, I was —
I was crying but — -I was, too.
-No, I know. But the best part —
[ Laughter ] -Oh, no.
-The best part was going backstage
to check on you after the bit, ’cause I was like —
[ Laughter ] -No.
-‘Cause I was like, dude. I was freaking out,
’cause my mouth was on fire. And I’m, like,
eating bread and whatever. And I was like,
“Oh, I’ll go check on Selena, see if she’s okay.” And I walked
into your dressing room. Do you remember?
-Yes, of course I do, vividly. -You were throwing up
into a sink. [ Laughter ] -Stop.
-You turn around, I go, “It’s gonna be fine.
It won’t be that bad.” And you turned around and your
mascara was all down your face. [ Laughter ] And you had drool — you had
drool coming out of your mouth. And you go, “Get — Get out.”
-Yes. [ Laughter ]
That’s the nicer version. -Yeah, that’s the nicer version.
-I was like — -“Get out,” and that’s
the last time I saw you. So I didn’t know —
I’m happy you came back. [ Cheers and applause ] You’re a good sport.
You’re a good sport. [ Applause ] You got a lot going on.
“Dolittle.” You have a voice
in that movie, “Dolittle.” -Yeah.
-It comes out on Friday. -Yeah.
-And “Rare” is out now. Finally, it’s out.
-I know, it’s been — -I mean —
[ Cheers and applause ] -It’s been 4 years,
4 1/2 years now, before I’ve released anything,
so… -Are you happy it’s finally out?
-Yes, I am very happy. I think I had — I was holding
my breath for four years, and then, finally,
I just exhaled. And now it exists.
-Yeah. Now it’s out there. And everyone’s loving it,
by the way. It’s getting —
[ Cheers and applause ] It’s a great album.
-Thank you. -“Rolling Stone” loves it. “Billboard” calls you
“Triumphant.” “Variety” said “‘Rare’ is one of
the best pop albums to be released
in recent memory.” “Time” says,
“‘Rare’ is a pop gift.” These are great, killer reviews.
-Wow. -Thank you.
[ Cheers and applause ] -Well, I love —
“Lose You to Love Me” was the first thing you — the first song you released
off this album. -Right.
-And, man, oh, man, that was — That’s a great jam.
And I think everyone liked it, ’cause they were like —
‘Cause it’s personal. -Yeah. I mean, I think
there came a point in my life where there were so many things
being said on my behalf. And I found myself
protecting people that didn’t really protect me. ‘Cause I didn’t want, you know,
to start anything. And I — But I had a right
to say my side of this story. And I felt like — I felt like
that was so liberating, because it almost felt like
I had let it go, personally, inside of me,
once it was out. And that — I mean, that’s
the greatest gift, I think. -It’s tough, right?
To just do that. I mean, I couldn’t imagine
writing a song, just putting all your feelings
out there. -Yeah.
-Not only was it received well, but, like, it might be — was it
one of your biggest songs ever? -Yeah, it was.
-It is your biggest song ever. [ Cheers and applause ] So it’s good to take a risk. It feels good,
you take a risk like that. -It was —
I was very, very grateful. -Broke all sorts of records.
So… Anyways, I’m happy
the album’s out. You worked on —
Maybe on that song with Finneas — is that
Billie Eilish’s brother? -Yeah, actually, he —
We finished up the song and gave him the song
to produce it himself. And he did an amazing job. He’s obviously
extremely talented. -Yeah, we talked to him when
Billie Eilish was on, as well. And I found out —
I don’t know if you know this. But you have something in common
with Billie. You’re an inspiration
for the song “Bad Guy.” But not you. -Am I the bad guy?
-You’re not the bad — no. -No, I’m kidding.
-The theme song of “Wizards of Waverly Place”…
[ Cheers ] …was an inspiration —
[ Cheers and applause ] was an inspiration to her —
to getting the tune. -That’s —
-Isn’t that bizarre? -I love you.
-So, I thought maybe it’d be fun to play —
-I love Billie. -…to play a little bit
and see if we can see… -Oh, gosh. Okay.
-…what inspired her. [ Cheers and applause ]
-Okay. -Here’s a little bit
of “Wizards.” -Okay.
-Okay? -Oh, no.
-Yeah. [ Laughter ] ♪♪ -♪ Well, you know everything
is gonna be a breeze ♪ ♪ That the end will,
no doubt, justify the means ♪ ♪ You could fix any problem
with the slightest of ease ♪ ♪ Yes, please ♪ -Oh, my God!
[ Laughter ] ♪ Ba, ba-doo doo ♪ -Yeah.
-That’s kind of — right? Here’s “Bad Guy.” [ “Bad Guy” plays ] [ Cheers and applause ] ♪♪ -That’s so cool.
-Kinda, right? Isn’t that cool?
-That’s so cool. -That’s pretty fun.
I think that’s cool. What do you want people
to take away from the album when they listen to it? ‘Cause you got
a lot of tracks on here. -Yeah.
-13. -I think what was most important
for me with this record is to make sure
that every single song, whether it was the lyric
to the production, to mean something
and to actually hold weight. And, you know, one of my
favorite songs is “Vulnerable” on the track and —
or, “Vulnerable” on the album. And I think it’s —
it was a way of me hoping… like, hoping I could just
be a voice for people who are in
the same situation I’m in, whether it’s something mentally
that people struggle with or relationships, friendships. I wanted to be as honest
as I could. And the only thing that I wanted
was to make people feel good. And, you know, during all
the mess that’s happening, I think that I’m very lucky
to be in a position where I can make people
feel good. -Did you always know the album
was gonna be called “Rare”? -Yes.
-You did? -The moment we started
four years ago. -Is that right?
-We worked on “Rare.” And I just said,
before we finished anything, I said, “This is gonna be
the name of my album.” -Really?
-The word is so special. And it means a lot. And I think, in this time,
where everyone is obsessed with feeling like
they need to look the same way or get things done
or whatever it may be — And I mean, I’m —
Obviously, I don’t judge. I’m just saying there are
some girls who are hurting because they feel like
they don’t fit in. But this word
is eliminating that, because you weren’t meant
to look like everyone else. You’re meant to be who you are, and that’s unique,
and that’s rare. [ Cheers and applause ] -Awesome, buddy. I love every single thing.
-Thanks so much. -Congrats on the album.
It’s out now. “Dolittle” is out Friday.
Are there — Is there any other —
I always feel like — ‘Cause, like, for me,
if I put out a record, if there’s 13 tracks,
I probably — that is — That’s all I wrote was 13.
-Yeah, yeah. -Maybe 10, you know? And I put two bonus things
on there. -Sure.
-But I feel like a real artist probably — do you have, like,
other songs that didn’t make it to “Rare” that are out?
That are done? Finished? -Maybe there’s a few things.
Yeah. There’s a few other songs that I
couldn’t help but want to exist. So I can’t really tell when, but one of my favorite tracks
is called “Boyfriend.” So I can’t wait for people
to hear that one. -Wow.
That’s awesome. I love you.
It was good to see you. Selena, I love you.
You’re the best, buddy. Selena Gomez, everybody!
“Rare” is out now!
Title: Happy Coffee Music – Relaxing Jazz & Bossa Nova Music
Wrought in tears,
the greed of a brother.. ..avenging his failure ..for the love of the gods For the first sin
his soul was marked.. ..unable to die
condemned to hide in the dark ..expelled from the land
who saw his brother die ..a glitch in the frame
for this life.. ..of exile In an endless sleep
trapped between four walls ’til the limbo of this world
began to fall Then the ground’s turned into an endless winter ..life substructure mutated to a cancer Enoch.. ..the forbidden child.. ..raised in blood,
born to be the prodigal son.. BY HIS HAND
THE WORLD WAS SHAKEN Against his hatred
humanity failed again This is a new toxic erra ..a new reign of fear.. ..curses spelled on the corpses.. ..of the weak.. A DARK AGE FOR MANKIND As the new world is
ushered in.. ..by these doomed creatures ..the darkness ..invades the heart of the brave As the new world is
ushered in.. ..by these doomed creatures All that left is anihilation.. ..The more humans raises against them .. ..the more
they grow.. ..and when it seems over They will reborn from the ashes.. ..of their abominations The din of a bleeding human.. ..moaning for his life to be preserved in That very moment when life fades away.. ..the fangs of the beast appeared to him.. DRINK FROM ME AND LIVE FOREVER ..by leading the population.. ..into it’s own
goddamn downfall.. THEY STILL THINK IT’S A NIGHTMARE Teeth as weapon..
Daylight as destruction The final punishment.. ..annihilating thousands of lives.. ..condemned for their sins..
a non-life of regret No home
for the cursed one.. ..land of the damned ..where all the evil seeds.. ..take roots in the mist ..by his hand the world was shaken.. ..against his hatred humanity failed again.. ..they still think it’s a nightmare.. ..teeth as weapon, daylight as destruction.. ***GUITAR As the new world is
ushered in.. ..by these doomed creatures The darkness
invades the hearts of the brave.. As the new world is
ushered in.. ..by these doomed creatures All that left is annihilation.. …As the new world is
ushered in.. ..by these doomed creatures The darkness
invades the hearts of the brave.. ..by these doomed creatures All that left is annihilation..