Shouta talked about his family specifically his sister. He said there are 5 people in his family, his mom, his dad, him, his sister, and his grandma.
His sister used to play drums in a band. He also mentioned she’s more “otokorashii (manly)” than him haha
He gave advice to a letter sender who dreams to be able to sing in a big stage in front of lots of people, to take voice lessons and to practice a lot. He mentioned he also goes karaokeing a lot (to practice i think lol)
He tried eating Nissin Cup Noodles. Again lol
Shoutan’s Voice Segment Request: Say “We’ll be together always.”
Situation/skit: Graduation day and Shouta is about to leave the town for Tokyo, and he tells you not to be lonely because “We’ll always be together..” Vanessa Carlton’s A Thousand Miles plays
Shouta talked about how he liked that song, the melody and the piano, etc..
Note: My own recording, please don’t reupload this as your own. Thanks!
Wikipedia: After recording the second version of the song, Lennon wanted to do something different with it, as Martin remembered: “He’d wanted it as a gentle dreaming song, but he said it had come out too raucous. He asked me if I could write him a new line-up with the strings. So I wrote a new score (with four trumpets and three cellos) and we recorded that, but he didn’t like it.” Meanwhile, on 8 and 9 December, another basic track was recorded, using a Mellotron, electric guitar, piano, backwards-recorded cymbals, and the swarmandel (or swordmandel), an Indian version of the zither. After reviewing the tapes of Martin’s version and the original, Lennon told Martin that he liked both versions, although Martin had to tell Lennon that the orchestral score was at a faster tempo and in a higher key (B major) than the first version (A major). Lennon said, “You can fix it, George”, giving Martin and Emerick the difficult task of joining the two takes together. With only a pair of editing scissors, two tape machines and a vari-speed control, Emerick compensated for the differences in key and speed by increasing the speed of the first version and decreasing the speed of the second. He then spliced the versions together, starting the orchestral score in the middle of the second chorus. (Since the first version did not include a chorus after the first verse, he also spliced in the first seven words of the chorus from elsewhere in the first version.) The pitch-shifting in joining the versions gave Lennon’s lead vocal a slightly other-worldly “swimming” quality.