Kaboochi Dance Song
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Kaboochi Dance Song
I’M BLINDED BY THE SILENCE CAUSE CHAOS USED TO BE MY GUIDE THE STILLNESS WITHIN ME TEARS ME UP ALL THROUGH THE NIGHT MY YOUNG HEART IS LOCKED UP BREAK ME OUT AND SET ME FREE I’M DIFFERENT WHEN I’M WITH YOU TAKE ME AWAY TAKE ME AWAY TAKE ME AWAY TAKE ME AWAY WE COULD CROSS AN OCEAN TAKE ME AWAY TAKE ME AWAY I’M BLINDED BY THE SILENCE CAUSE CHAOS USED TO BE MY GUIDE THE STILLNESS WITHIN ME TEARS ME UP ALL THROUGH THE NIGHT MY YOUNG HEART IS LOCKED UP BREAK ME OUT AND SET ME FREE I’M DIFFERENT WHEN I’M WITH YOU TAKE ME AWAY TAKE ME AWAY LIKE A HURRICANE BE MY ESCAPE IN THE EYE OF THE STORM WE’RE SAFE WE COULD CROSS AN OCEAN CAUSE I’M WEIGHTLESS IN YOUR ARMS TAKE ME AWAY TAKE ME AWAY LIKE A HURRICANE LIKE A HURRICANE LIKE A HURRICANE TAKE ME AWAY LIKE A HURRICANE LIKE A HURRICANE TAKE ME AWAY LIKE A HURRICANE LIKE A HURRICANE WE COULD CROSS AN OCEAN CAUSE I’M WEIGHTLESS IN YOUR ARMS TAKE ME AWAY TAKE ME AWAY TAKE ME AWAY LIKE A HURRICANE BE MY ESCAPE IN THE EYE OF THE STORM WE’RE SAFE WE COULD CROSS AN OCEAN CAUSE I’M WEIGHTLESS IN YOUR ARMS TAKE ME AWAY TAKE ME AWAY TAKE ME AWAY WE COULD CROSS AN OCEAN CAUSE I’M WEIGHTLESS IN YOUR ARMS TAKE ME AWAY TAKE ME AWAY LIKE A HURRICANE LIKE A HURRICANE
ELMO: Ha, ha, ha. Oh, boy. It’s so good to have you here. DIANA KRALL: And it’s
so good to be here. ELMO: Oh, good. Oh, oh. Hi, everybody. Oh, this is Diana Krall. DIANA KRALL: Hi, everybody. ELMO: Ooh, Diana’s
going to sing everybody’s song with everybody. Come on in, everybody. MUPPETS: Yeah, yeah! ELMO: Come on, come on. COW: Don’t step on
anybody’s toe. ELMO: Everybody– everybody,
say hello to Diana. DIANA KRALL: Hello, everyone. Hello, everyone. ELMO: Is everybody here? GROVER: No, I am not here. Well, I am everybody, too! Um, hm. ELMO: OK. Now Elmo believes that
everybody is here. GROVER: Oh, sorry. ELMO: OK. Let’s sing everybody’s song. Ooh, you’re everybody,
too, so you sing too. Hit it, Diana. DIANA KRALL: OK. ELMO: Hm, you’re good at this. DIANA KRALL: [SINGING] Do you hear that beat? ELMO: Yeah. DIANA KRALL: Makes you
leave your seat. ELMO: Mm. DIANA KRALL: Makes you
move your feet. ELMO: Yeah. DIANA KRALL: That’s
everybody’s song. ELMO: Everybody’s song. DIANA KRALL: Makes your
fingers snap. ELMO: Snap, snap, snap. DIANA KRALL: And your
hands can clap. ELMO: Clap, clap, clap. DIANA KRALL: And your
feet can tap. ELMO: Yeah. DIANA KRALL: Come on
and join along. ELMO: Come on and join along! ALL: And your voice can hum,
and your heart’s a drum. Whenever you come from you
just can’t go wrong– DIANA KRALL: –with
this pretty ditty! Want to cheer. ELMO: Want to cheer. DIANA KRALL: I get
an itchy ear– ELMO: Get an itchy ear. DIANA KRALL: –every time
I hear everybody’s song. ELMO: Everybody’s song. Do it, Oinker Sisters. COWS: Beat. Seat. ELMO: Seat. COWS: Beat. ELMO: Beat. ALL: That’s everybody’s song. Snap. ELMO: Snap, snap. ALL: Clap. ELMO: Clap, clap, clap. ALL: Snap. Come on and join along. Well, your voice can hum. ELMO: Hum, hum, hum. ALL: And your heart’s a drum. ELMO: Drum, drum, drum. ALL: Wherever you come from, you
just can’t go wrong with this pretty ditty! Want to cheer. ELMO: Want to cheer. DIANA KRALL: I get
an itchy ear– ELMO: Get an itchy ear. DIANA KRALL: –every
time I hear– ELMO: What? DIANA KRALL: –everybody’s
song. ELMO: Yeah! ALL: Everybody’s song. DIANA KRALL: Everybody’s song. ALL: Everybody’s song. ELMO: Thank you, Diana. DIANA KRALL: Thank you. You were wonderful. ELMO: Oh, and you were
wonderful, everybody! [CHEERING] ELMO: You were wonderful, too. Ha, ha, ha.
KPOP IN PUBLIC (G)I-DLE LION DANCE COVER IN PUBLIC INDONESIA
So I’d rather be in your memory No, I’ll never be how you remember me So I’d rather be in your memory I’ll never be how you remember me You love me wrong Yeah, you love me wrong Yeah, you love me wrong Yeah, you love me wrong Yeah, you love me wrong Yeah, you love me wrong Wrong But I was there, and that isn’t fair You didn’t know I was listening Talk about me in the kitchen But I was there, sitting on the stairs You didn’t know I was listening I heard you talk about me in the kitchen ‘Cause I’m there in your wallet and your locket I know you love me You lose sleep over me Oh, you love me Yeah you love me wrong But you love me wrong ‘Cause you want the best Yeah, you love me Dress me to the nines Yeah, you love me You put me to bed Oh, you love me
JODI: ♪ They say you’ll know when it’s true
But what I’m feeling, it’s just all so brand new ♪ ♪ They say you’ll know when it’s right
But I’ve never been here before, I’ve never tried ♪ JODI, CORKI, SUN HI: ♪ I wanna know, wanna know
What this love is about ♪ ♪ I, I don’t know what I’m feeling gotta figure it out ♪ ♪ I wanna know, gotta know
What all of this could lead to ♪ ♪ Am I really falling for you
Ha a, ha a …Falling for you ♪ ♪ Ha a, ha a … ♪ CORKI: ♪ You say you wanna be friends
We play it cool but it’s so hard to pretend ♪ ♪ Deep down I think we both know
You and I and what we have could somehow continue to grow ♪ JODI: ♪ Not a day goes by
Without me thinking about you and your sweet smile ♪ ♪ Could we one day be together? Ohhh ♪ JODI, CORKI, SUN HI: ♪ I wanna know, wanna know
Knoooo-ohoh ♪ ♪ What this love is about
I don’t know wha-a-at ♪ ♪ I’m feeling gotta figure it out ♪ ♪ I wanna know, gotta know
What all of this could lead to ♪ ♪ Whoa
Am I really falling for you
For yeaaahhhahaaaa ♪ ♪ Falling for youuuuuuuuuuu ♪ ♪ Falling for you
Ha a, ha a … Falling for you ♪ SUN HI, CORKI, JODI: ♪ Gotta know, Gotta know
Am I really falling for you ♪
>>This next singer’s name is Marty Wilde. His daughter, Kim Wilde, had a #1 hit record
in the United States back in 1987 called, “You Keep Me Hangin’
On”. This next song, though, when it was released
in America did not have Marty Wilde’s name on it. They released it
with an alternate name, called Shannon. So, here’s Marty Wilde, as
Shannon, singing “Abergavenny” on “A Reelin’ & Rockin’ Reunion”!
One thing that I live by is just
trying to be extremely positive, and this might be kind of funny,
but just do what you love. When I come here and I’m putting
the controller in my hand or I’m doing sound design,
that’s me. This is what I want to do,
this is what I’m here for. Hi, I’m Mike Niederquell. I’m a lead sound designer
here at Sony and I’ve been with the
PlayStation family since 2011. I’ve never been
a part of a project where someone laid out a vision
four years prior and how well that vision
was upheld. I got to commend the team,
and Cory sticking to his guns. I’ve been in some meetings
where Cory really pushed back
on what he wanted, and it was really great to
follow in his footsteps to get us where we are. I always just make mouth sounds
for Mike Niederquell. So when I would go in and try
to describe what I’d want, it was more just like, hey,
“wa-shoo, whoosh.” And you’re like, “Aw, man,”
and it’s ridiculous. If you were
to take it out of context and listen to any of the things
that I were to tell him, I don’t know how he followed
any of that direction. The only clear piece of
direction I gave him was the World Serpent voice. It’s this mysterious entity
that comes out of the water. It’s giant, large than life, and he wanted its voice
to represent that, and he wanted it to be surreal
and something you’ve never heard before
and be very alien. I had these really cool
Tuvan throat singing videos, and I was like,
“I really want him to have this weird combination
of monster and creature, but also
a Tuvan throat singing thing, so it’s almost cyclical
like the didgeridoo almost. There’s five layers to it. So I went online, I went on
YouTube and did my research, and I was like, “I think I can–
maybe I can do this.” And so I gave it my best go and I put a mic up to my mouth
and I was like: [IMITATES TUVAN THROAT SINGING] And it’s not that great. I used different pitch plug-ins, and one of them
was kind of like Auto-Tune, and that’s what gives the World
Serpent its signature sound is it’s trying to pitch correct when I do
that Tuvan throat singing. So when you hear me restart like
this… [STACCATO GRUNTING] It’s me fighting
against the Auto-Tune to get it to stick to where
I want it to correct it. And then once I find a note
that I like, I try to hold it
as still as possible, and that’s what gave it
its unique characteristic. Once you start to add
some of the plug-ins… [GROWLING] [GROWLING VOICE] So that’s the base pitch
that I started with, and I kept iterating on top
of that pitched version. There’s clicks you might hear
in his voice, and some of those clicks
are kitten purrs, some are buffalo little chuffs. There’s tigers,
there’s beluga whale clicks. And all those things
are layered together to give it all those other
creature-esque sounds that I couldn’t necessarily make
with my voice. [CLICKING] [GROWLING VOICE] [GROWLING VOICE] [CLANG] [THUDDING] We did a lot of Foley recordings
down in San Diego, and what that offered us
was unique sound recordings to craft the sound
of God of War. [THUNK] The sound of the axe as it
whisks through the air, it has that “whoo.” And then when it comes back
to your hand, and, “ponk,” has that satisfying
ka-thunk sound. The actual really heavy,
wet thud sounds that it has when it hits,
the cleaving sounds that it has, they seem to just elevate
a punch over everything else. So even when Kratos
is screaming, it complements and feels like it’s on a different level
from where he’s at. One cool thing we did
about the catch sounds that I think is resonating
with a lot of people is no matter where
you throw the axe, we have an incoming
embellishment. So on top of it we have
the whooshes that play of the axe spinning,
but we also have a “fwoof” when it comes back to you. And based on how far away
you throw that, we actually will fast forward
or rewind into the sound to do an offset to make sure that embellishment
plays at the right time when you catch it,
so it’ll always end: “fwoof,” in your hands. So if you throw it closer
to you, it’d be, “fwoof!” I actually made homemade
bullroarers, which are– if you think of Crocodile Dundee
or something like that, when he’s spinning
this giant thing, going: [MAKES UNDULATING SOUND] So it’s basically a string with
a flat piece of wood on it that’s oblong like that
and rounded. Those recordings ended up just
basically being mastered and thrown in as
the Dark Ones’ wings. That’s always rewarding
as a sound designer when you can almost take
a singular source and just EQ it and master it
and put it into the game. There’s a picture one of the
sound designers sent me from San Diego where he has
his feet on a T-bone steak. So they were literally
walking on red meat so you get some of the “flesh”
footsteps that we used– I think we used some of those
inside the hive in Alfheim, and areas inside of
the World Serpent. I think the sound for fatherhood
changes. In the first three years
of my son’s life, the sound for fatherhood
was screaming. But then I would say the sound
of fatherhood now has changed to “Papa.” That to me sums it all up, makes
it all feel good and worth it, is him actually
calling out to me and initiating a conversation,
which is a big deal, I think, for me specifically, so that becomes a very personal what is that sound
of fatherhood? It’s interesting because
you look at the game and I think the sounds of
fatherhood are, “Boy!” And then at the end, it’s “Son.” I think what I’ve enjoyed most
about working on God of War is the collaboration. Each person on
our sound design team has almost touched everything
in the game. We had a very unique process where someone would take
an iteration on one thing and someone would have ideas, and we might have that
other sound designer come in and offer their ideas. So it was very selfless. People were willing to let go
of some things to have someone else try to put
their icing on the cake, so to speak. Thank you to every single person
out there who worked tirelessly
to make this game, who suffered and struggled
and doubted, but ignored the doubt
or overcame the doubt, who put in way more
than was ever asked. It is no mistake that people
are talking positively about the audioscape
of this game. This is not the kind of thing
people do just to get it done. I think they do it because
there’s part of them that compels them
to do something, that makes them
desire to actually put a piece of themselves
into something, become part of something
greater. And I’m so, so blessed
to actually be part of that, to actually stand
next to smart people while they do
really great things and then take
total credit for it. So I did it all. Me. Yes, I did not do anything. It’s super clear, right? And I’m very sorry for whatever
it is I’m going to do in the next 48 to 60 years. Boy!