#Roundabout Bass

[ericblackmonmusic]

ROUNDABOUT Bass Guitar Tutorial YES @EricBlackmonGuitar

[gwynndolin]

everyone talks about the guitar in Roundabout, and its fantastic of course, but i think the bass is what actually carries the song

[pressplay-if]

Hi I’ve played the demo like 5 times already and with the same MC LOL its so good!

my MC is named Penny and she is totally not a carbon copy of Penny Lane from Almost Famous…haha…haha… anyways… 100% going for Stevie’s route. I knew as soon as i read the intro it would be Stevie and I am pleasantly unsurprised it stayed that way. Right when I saw her intro “she plays bass” started playing in my head.

Penny comes from a rich family and dresses as dramatic as possible. She craves attention lol. I always see her in sunglasses, big coats, drowned in jewelry. She is very aware of Stevie having a crush on her but also sort of unfazed? It’s made clear that despite Penny being offputtung/odd that she somehow always manages to make it work/look good, so I think she always brushes off stuff like that as “it’ll pass”.

She’s blunt, a little sarcastic and flippant, but her happiness levels are…dipping. I also remember the Wild stat being pretty high.

The writing in this is so immersive like i caught myself kicking my feet and giggling while MC is being gushed over by the cast. That’s all though! I love this story and pray you continue it 🙏🙏🙏

Okay "She plays bass" is actually a killer song! Thanks for the roundabout recommendation haha

Ngl the need for attention is really relatable given the family background you picked. The "It'll pass" thing is rly sad tho, my poor girl Stevie... Even though Stevie also thinks it'll pass lol.

[joshuaboakley]

Roundabout (2008 Remaster)

https://www.youtube.com/watch/cPCLFtxpadE Roundabout (2008 Remaster) Provided to YouTube by Rhino/Elektra Roundabout (2008 Remaster) · Yes Fragile ℗ 1972 Atlantic Recording Corporation Drums, Percussion: Bill Bruford Producer: Bill Bruford Bass Guitar: Chris Squire Electric Guitar: Chris Squire Producer: Chris Squire Backing Vocals: Chris Squire Engineer, Producer: Eddie Offord Unknown: Gary…

[fearlessechoes]

Practiced bass today again after a bit of not practicing! I’m gonna learn Roundabout’s bass line… very excited! It’s already been pretty difficult ngl

[dustedmagazine]

Ty Segall — Three Bells (Drag City)

Ty Segall has never been shy about his affinity for King Crimson . His heaviest band, Fuzz, covered “21st Century Schizoid Man” a decade ago, amplifying its stately complexities to an airport tarmac roar . His latest album, the double LP Three Bells, hews to a quieter folky sound, but you can hear a homage to the prog godfathers in its tricky chord changes and multi-parted compositions.

Consider, for instance, the shimmering jangle that kicks off the title track, Segall warbling plaintively over a mesh of folk-leaning guitar play . But the melody takes a half-step, jazzy turn, breaking out of what you expect into jazzier, more free form trajectories, but that’s just a taste. A mid-cut break slips further out into the stratosphere, quickening the pace, fracturing the vocals and layering heavy metal guitars with pristine folk-derived harmonies . It’ll remind you not just of Crimson, but related bands and their prog rock opuses—Yes’ “Roundabout” or Emerson Lake & Palmer’s “Lucky Man.” 

That’s quite a turnaround for an artist who cut his teeth on brief, incendiary garage stomps like “The Drag” but Segall’s influences have always been broader and deeper than skeptics acknowledge . He’s as deep into kraut rock as he is in mod 1960s psych, as committed to arena-style rock and metal as to Cavestomp primitives . His last few albums have thrived under limitations—no guitars for First Taste, a fixation on Harmonizers for Harmonizer, a home-taper’s acoustic fuzz for Hello, Hi .  Three Bells is not one of these conceptually defined albums . Recorded mostly solo, with Segall on guitar and drums, it pushes classic guitar rock into complicated corners, with choral motets sidling up to blistering guitar solos, noodle electric keyboard textures glittering atop blasts of pared down percussion .

Segall brought in his wife Denée to assist on five of these tracks, including the fuzz-bombed highlight “Eggman” where multiple guitars saw in from all angles as Segall chants in monotone . It’s hard to overstate how bouncy and marvelous the drumbeat is or how infectious this brutally stripped back song is .  And yet even this one disappears into a vortex, swamped by noise like the end of “A Day in the Life.” 

Emmett Kelley also played bass on a few . You can hear Kelley bobbing in and around the chilled, fusion jazz drum break of “Denée,” holding down an increasingly free-form exploration of rhythmic transport . Or grounding the swaggering Motown pop string section in the sweeping “My Room.”

The most entangled and intricate cut on this disc, though, is likely “Move” the one track credited not just to Segall but the whole Ty Segall Band (Ben Boye, Mikal Cronin, Emmett Kelly, Charles Moothart and Segall himself.)  Denée chants in a cool deadpan, as all manner of guitar-based ideas zing off in the background . The tempo changes—as well as the temperature, with metal and rock flaring out of krautish repetition—but the song bangs on . It’s complicated but in no way unreadable, a pleasure for all its multiplicity.

Jennifer Kelly

[epic-song-lyrics-showdown]

Epic Song Lyrics Round 1, Wave 2, Poll 3

“You're one, yes, you're the star / We need you back on bass guitar / You're fabulous (I'm fabulous) / You're fabulous (I'm fabulous) / You're the one we all can see / It's all about you (it's all about me) / You're fabulous (I'm fabulous) / You're fabulous (I'm fabulous)”

-Fabulous, Bobbi Fabulous and Phineas Flynn

“It's getting late / Look a complete and utter state / She pops out the blue and says / Doesn't matter mate / See this girl she's been around / Bet you a pound / She pulls right up to my ear and says / Whatever you do / Don’t turn 'round / My entire life it's running away too fast (my whole life, it won’t last) / Watching everyone I've ever loved walk past (merry make me love forget the past) / Never really quite getting the knack of (I’m not telling, but you can) / Knowing no one will not (fuck off if no one will) / Ever come back for you (come back for you) / Roundabouts and washing lines / We do each other's laundry in our hearts sometimes / Come back (come back) / Come back / We don't have time to fuck around / Abouts and washing lines / We do each other's laundry in our hearts sometimes / Come back / Come back / We don't have time to fuck around”

-Pruning Shears, The Amazing Devil

Fabulous-Bobbi Fabulous and Phineas Flynn

Propaganda:

It makes me feel fabulous, do I need to say more?

Submitted by @the-reblogging-fish

Pruning Shears-The Amazing Devil

Time Stamp: 2:23-3:27

Propaganda:

I really like the layering and repetition here, also it just sounds very nice

Check out the other polls in this wave here.

This is reposted as I messed up the length of the poll.

[progfessor-dyke]

I thought it would be enough to learn it, but alas. I need the bass line to Roundabout engraved in my brain.

^^^me when Roundabout does the. does the bass line. yeah

[theyellowroseofsodor]

Traintober 2023!

So excited to be here! I’m going to be writing this for the next month so it may be a bit for the next Yellow Rose update, but don’t think that it’s going away forever! It’s being written too! Enjoy!

Day One - Free Day!

Gordon was surprised to say the least when he returned to Tidmouth Sheds and the adjacent manor that night. When he first left the manor that morning there was nothing out of the ordinary. Now? There were cobwebs hanging across each doorway of the roundabout shed. He slowed to a stop at the turntable, letting his driver and firemen out, who looked equally surprised. He shifted to his human form and rolled his head, a light crackle of his bones feeling excellent after a long day, and he waved goodbye to his team. As he approached the manor’s door he could hear music getting increasingly louder, till he opened the door was blasted with a loud bass. He winced, growing irritable at the sound and it was making him increasingly cross at the assault. The manor looked the same as always as he walked through the door and found himself following the sound as he walked up the steps to go upstairs.

Spooky scary skeletons

Send shivers down your spine

Shrieking skulls will shock your soul

Seal your doom tonight

As Gordon reached the upstairs living room, he found Camille dancing by herself to the music as she placed a few skeletons on the mantle of the upstairs fireplace. With her back to him, he found the Bluetooth speaker and began pushing the button rapidly down to a lower volume. She quickly turned around as the volume died and she grinned at him.

“Gordon! You’re home!”

“And my ears have never been so assaulted in all my life. What on earth, Camille?” He looked at her admonishingly.

She only grinned back at him and held her arms out to the room, “It’s spooky season!”

He cocked an eyebrow at her, “Spooky season?”

“Yeah, you know, Halloween.”

He looked at her not understanding, “Halloween is one day and it’s at the end of the month. Today is only the first.”

She walked over to him and took his hand, spinning herself though he found himself aiding her, “But it’s my favorite time of year and there’s no harm in decorating now.”

Gordon looked over at a small tote of decorations and rolled his eyes, but her smile was contagious. He smirked down at her and shook his head, “Fine, but keep the volume down at least. For me?”

She tiptoed to kiss him and he leaned down to his lips, “Of course. I know you like to watch the news or crime shows when you get home. I lost track of time. I’ll turn my music back to my earbuds.”

Gordon grunted in response and moved to his favorite blue recliner to turn on the TV. He eyed the little box once again and shrugged. There had never been many decorations for the Halloween holiday at Tidmouth or anywhere on the island that he could recall. A few decorations could do little harm.

The next day, when Gordon returned home, there were skeletons in the yard and hanging around the sheds. Some were full sized, some were small, others were just bones placed around the yard strategically with a few grave stones. Where on earth had she found those? He ignored them as he walked up the path to the house.

The day after, Gordon began to look around in an almost frustrated awe as there were gooey window stickers to spell out the words “HELP” or “BEWARE” with red blood decorating them. There were even a few bloody handprints and he found that on some of the sidetracks that weren’t used in the yard there was caution tape and cones around some fake blood and a dismembered limb.

He chastised Camille about her poor taste, but James and Thomas defended her and talked about how great the décor was. There were even little odds and ends inside the house, including but not limited to skeletal animals (a dragon, raptor, unicorn, and gryphon to name a few), sugar skulls, a few venus flytraps and piranha plants next to Henry’s plants in his indoor garden cabinet lit by their warm lights and also a few decorative orange and black lights, table clothes with spiderwebs and decorative towels, and this was all just in the main room! She had replaced his own blue mattress set for a Halloween themed one. There was a little “trick or treat” block on his desk and a Halloween countdown calendar as well.

But the last straw was when he came home one day and found a tall animatronic witch on the front porch, by the door. She was the stereotypical green, warts and all, in all black clothes with the pointed hat and the broomstick in hand. He glared at the witch and she looked blankly ahead.

Gordon sighed and went to walk right past her when she moved and started cackling in a high pitched laugh. He about jumped out of his skin and turned to scowl at the robot who continued to laugh.

“Hiya, sonny! How about a kiss?! Eeeeeehehehehehehe!!”

Gordon had never wanted to punch something so badly. He looked the witch over in disgust and stomped into the house as she continued to cackle.

“Camille!!”

“You love me!!” She said laughing from the upstairs.

Gordon shook his head as he removed his shoes and work jacket.

This was going to be a long month.

[thepenguinhbo]

heather sunlians: woe is me for i cannot kill the part of me that cringes.......... my thoughts are locked inside my head.......... and i am too afraid to unleash them..............

me (bass boosted): THE ANTAGONISTS FROM THIS 2016 BATMAN GAME LOVED EACH OTHER IN THE MOST ROUNDABOUT WAY POSSIBLE AND ALSO HERE IS MY INCOMPREHENSIBLE THEORY REGARDING THE LORE OF CRINGE GACHA MOBILE GAME HONKAI STAR RAIL

[keanuquotes]

What do a grocery store, a diner, and The Matrix Resurrections have in common? We can thank all of them for Dogstar's origin story and comeback.

Keanu Reeves, Robert Mailhouse, and Bret Domrose's rock band formed in 1991 after a chance encounter in Southern California's supermarket Gelson's, when Reeves saw Mailhouse wearing a Detroit Red Wings top and struck up a conversation with him. The two bonded over their shared love of hockey and became fast friends.

"It turned out that we lived in the same neighborhood," Reeves tells EW, "and then we started to jam together, and then we started to write songs, and then we played the first shows as Dogstar not that long after."

Doghouse members Robert Mailhouse, Bret Domrose, and Keanu Reeves

| CREDIT: BRIAN BOWEN SMITH

In their early days, bassist Reeves, drummer Mailhouse, and original singer and guitarist Gregg Miller (who left the group in 1995) would play in Reeves' garage. "It was fun," Reeves recalls. Until Miller's amplifier broke.

So he reached out to Domrose for help. "I was bartending with [Miller] when I first moved to Los Angeles, and I happened to have a similar amplifier to his," Domrose says. "So I went over to the house to help him fix it, and that's where I met these two guys. I just thought I was going to help some guy fix a piece of equipment. I didn't know I was about to change the rest of my life."

Reeves and Mailhouse were instantly impressed by Domrose's guitar skills — "Bret's a shredder, man," Reeves says — so a few days after watching him play, they invited him to join them at the iconic Los Angeles venue Troubadour. "I just wanted to go and drink beers and watch you guys," Domrose recalls. "I didn't realize I was going to be on stage."

"That set the tone for us from then on," Reeves says, rubbing his hands together. "Jump into the deep end. Man, that's us. We are not afraid."

Much like with that first serendipitous meeting in a Gelson's, food, at least in a roundabout way, helped lead them to a musical collaboration — this time, their return, which includes a tour and their upcoming third album, Somewhere Between the Power Lines and Palm Trees.

"There was a premiere for Matrix 4 in San Francisco, and the next morning we had breakfast," Reeves says. "That was the initial spark." While the band never officially went on hiatus, they hadn't recorded or released new music in more than two decades, playing together only every few years in basements or at smaller gigs nowhere near the size of their old concert venues. But what started as a post-Matrix Resurrections chat about equipment turned into a full-fledged plan for them to reunite in L.A. to start working on fresh material.

"We got excited, one thing leads to another, and then we all took it extremely seriously," Mailhouse says. "It wasn't going to be another one of those casual get-togethers. You could just tell. It was like we were on a mission."

Somewhere Between the Power Lines and Palm Trees is full of anthemic, sweeping, beautiful, and rousing songs that embody what the band is today. "The inspiration was three guys wanting to have fun and reconnect and be honest with our emotions, and so that's what you get," Domrose says.

If the music is different from their earlier, post-grunge records, it's all by design. "There's a maturity," Reeves says of their sound today. "The most challenging day [recording this album] was when I played 'Dillon Street'" — a track on the new album — "really basic when we were writing the song. When we get into the studio with the guys, I'm just playing it very simple and holding it down, and they were like, 'I think you need to do something more.' I tried to come up with the bass line in the moment, and it moves around a little more than I usually do, and so it was pushing me."

Reeves continues, "It was scary making stuff up in the moment with all ears and eyes on me, but everyone was cheering me on — just like, 'Dude, you got it. Let's go, Reeves.' So it was challenging, but also a fun moment."

The trio have never felt prouder of an album, and they can't wait to finally release it to the world. "We should have the record release party at a Gelson's, the one in Beachwood Canyon [where we met]," Mailhouse jokes to Reeves.

Adds Domrose with a laugh, "They do have a bar now!"

Somewhere Between the Power Lines and Palm Trees is out Oct. 6.

[96theater]

3 15 20 28 for the music ask :3

3: A song that reminds you of summertime

. c. crab rave. its got crabs what can i say

15: A song that is a cover by another artist

someone in a server im in showed me the allagaeon cover of roundabout and it goes way too hard. the bass on this is crazy

20: A song that has many meanings to you

many meanings, as opposed to a song that means a lot...i think the song that first comes to mind for me is "unknown scent" by iyowa. the first time i heard it i cried, not knowing what it meant but it's a very quiet, calm moment in an otherwise fairly chaotic album. it felt like letting out a breath, it felt like mourning. later i found lyrics and thought it felt like a pair of kids going on a fun outing together, or nostalgic. another part of me thinks that in the broader context of the album, it feels like a dying person's comfort to their lover (last journey comes Right after it in the tracklist)

28: A song by an artist with a voice that you love

this might sound kinda goofy because it's not really a traditionally "pretty" voice but /looks up his name/ josh ramsay's voice scratches my brain. this is what i wish i sounded like. you may also notice one of my favorite utau voicebanks (shikirine kuroku non-monster) kinda sounds like this and that's not a coincidence.

(cw for themes of disordered eating)

thank you for letting me talk about funny sounds

[freakingoutthesquares]

Ten Years In A Jumbo-Collared Shirt Words: John Mulvey, Photographer: Peter Walsh Taken from the New Musical Express, June 1992 Transcription: Acrylic Afternoons

"Pulp is... being an anachronism of any kind... living in a dream world... being totally unrealistic... making contact with beings from other planets and snogging them... it's not being different for the sake of it - that's immature... it's all of these things and more - but most of all it's about you and us, and what we can get up to together - OK? - alright, here we go..." (Pulp propaganda)

Today, Pulp is... trying to be superstars in your hometown... organising party games for drunks... loving Des O'Connor and not having to say you're sorry... being fantastic... being mundane... being fantastic and mundane at the same time... dreaming of space-age Sheffield...

"Sheffield's full of half-assed visions of cities of the future that turn into a pile of rubbish," Russell Senior reflects, standing on the biggest traffic roundabout in Europe. "We grew up reading the local paper and seeing 'Sheffield, city of the future,' with a map of how it's going to be and pictures of everyone walking around in spacesuits, smiling. But we're the only ones who took it seriously..."

"When I was younger I definitely thought I'd live in space," says Jarvis Cocker ruefully. "But when you realise you're not going to, it colours your life; you can't think, 'It's alright if I'm signing on because I'll be on Mars soon', you have to try and get it down here." So what are you getting into at the moment? "Cooking. It's very good. Cooking for your friends is very therapeutic, and they always say it's nice, 'cos they're just pleased they didn't have to get out of their seats to help."

Pulp - singer Jarvis, guitarist/violinist Russell, Nick Banks (drums), Steve Mackey (bass) and Candida Doyle (Farfisa, Korg and Stylophone) - are sitting in a dressing room at the Sheffield Leadmill with a pointless prop - a large, silver, faintly sinister head - for company. It is a special day. In the afternoon, hundreds of balloons have been released to mark the debut of their new label, Gift, a perverse indie spin-off from local Techno-vendors Warp. Later, they will play a dizzily great set of twisted disco melodrama. For now, though, they have a long ten years - and extraordinarily unsuccessful career to explain.

"Music's the only thing that can keep you going," says Jarvis, reassuringly clichéd. "If you're not getting paid loads of money and not getting loads of girls sayin ' You're smashing', that's the only thing to fall back on. When I was at school I had specs and bad teeth and was a bit lanky, and so no girls were really interested, but I thought that if I was in a group they'd think I was good... So on that level I've failed miserably. But that's why all sad kids do it, innit? Standing on the stage is like wanking off in front of a mirror. People in bands are social misfits aren't they?"

Looking at Jarvis - still wearing specs, still lanky (I didn't check his teeth) - and the rest of Pulp clad in a hundred shades of brown, a bit of lamé and countless other '70s synthetic atrocities, it's hard not to conclude that they're proud to be social misfits. Russell, meanwhile, is musing on how a band who haven't released an album since 1985 have kept going. "A band that's been together for a decade and has never sold any records is either very, very crap indeed OR they've got something strong keeping them together. I can't make up my mind which of those two it is yet."

"It's about not being able to make it in the real world," reckons Jarvis, back on his misfit tack. "I haven't got a City & Guilds certificate or anything, I haven't got a skill." What about film work (he and Steve are fully trained and occasionally practising video-makers)? "Oh yeah, I have got that," he admits bashfully. "But that's why I went to college, 'cos you do see sad characters walking around who used to be in a band about five years ago, and they always look like a dog that's got lost."

Pulp are currently busier, in bigger demand, than ever before. There's a frantically groovy new single, 'OU', about someone woken up by the sound of his girlfriend leaving him and wondering whether to chase after her or stay in bed; plus there's an album recorded in 1989, 'Separations', finally set for release on their old label, Fire. Both are tense, funny, fizzily danceable and flamboyantly out of step with most of the world, let alone the music scene.

"I like the light entertainment, Des O' Connor feel more than the greasy 'I'm on Highway 66, man' feel," says arch-crooner Cocker. "It's something that's going to die out. You listen to radio 2 - well, I do anyway - and they play Matt Munro, Engelbert Humperdinck and stuff that doesn't really get made anymore. It's a bit clichéd, and that's why people think it's cheesy. But the reason why people performed in that way is 'cos it's quite effective; if you can break through the cheese barrier, you can make contact..."

And so they go on. About people who find their balloons will be treated to a night in with Pulp, to listen to sports themes and BBC Radiophonic Workshop records, and play Stereo Ker-Plunk. About how Choppers are better than Grifters, and how Russell once smashed up the Leadmill dressing room in a fit of pique, only to be caught the next morning sneaking in to replace the bulbs he'd broken.

The last I see of Jarvis, he's standing on the bar at the after-show party, trying to organise the drunken liggers to play musical statues for a can of beer, while 'Nevermind' stops and starts incongruously in the background. It is, like a knackered redcoat struggling to bring culture to barbarians, not a pretty sight. The last I see of Candida, she's leafing through the Leadmill's visitors' book. Amidst pages of revealing scrawls - Spiritualized's inscrutable squiggles, Sultans Of Ping FC's unfunny cartoons - Pulp are there again and again and again; strange, sardonic, not all there but always bloody there. Whoever said all good things must come to an end was a useless liar.

[gunslinginnhogtyin]

❤️🎸🎶

MISC. HEADCANONS // @calebron

❤️ - How did your muse come to realize their romantic and sexual orientations? Was it difficult to accept? Are they proud of who they are?

Butch came to realize his attractions weren’t conventional somewhere in his early teens; whether this is due to some negative experiences he’s had is unknown, and there unfortunately were plenty. Men didn’t exactly jump at the opportunity back then, repressed by cultural expectations and all, and flirting would often end in a violent exchange—eventually he just started taking it in stride, taking what he could get… though that was years after strictly sticking to women for a long while.

He began to view sex as sex and attraction as just that, attraction. He found that he had “types” but they weren’t at all limited to gender. Though this took quite a while for him to fully grasp this part of him. Often times, after the fact, shame is still present but he’s not open about any of it. Ever.

It was very difficult for him to accept considering the time period he’s from and the heavy expectation from his father who was very toxic and one note about masculinity and how life was “supposed” to be. Live, work hard, make a family, and encourage the next of kin to do the same.

I wouldn’t at all say he’s proud of who he is; there’s a lot of self hatred and disgust intertwined with how he goes about his affairs and relationships with others, it’s just easier to ignore in the moment.

🎸 - Can your muse play any instruments? Do they play them often, or rarely? How actually skilled are they at playing them?

Butch’s main instrument is the guitar, though because of this, he can play near any stringed instrument within reason. A banjo, a bass, and a ukelele being main ones… he’s real good with his fingers! Man can play Roundabout by Yes near perfectly if ever given the opportunity if that tells you anything, lmao.

🎶 - What kind of music does your muse listen to? Do they have a favorite genre? Do you think the aux cord would be taken away from them?

Since entering the 21st century and catching up on everything he’s missed out on, you can imagine his mind was blown when he learned he didn’t have to physically go somewhere to see a live band to hear to music. While he has tastes for all kinds of music, his favorite no doubt are cheesy over dramatic 80’s classic hits. He's a sucker for old country and country rock too, but theres something about the passion in those 80's hits that gets him.

aux cord would definitely be taken away; mans the type or person to put the same song on REPEAT 10 times because it gives him the same level of seretonin every time.

[best-of-basslines]

remembered a few more! 😎

roundabout by yes

the lovecats by the cure

cupid's victim by tiger army

(bass guitar on the first one I think. upright bass on the last two.)

[lgceunwoo]

EVENT: MEETING REQUIREMENT: WORKSHOP OPPORTUNITY 001

the year-end meeting is no surprise to eunwoo. if one thing differs from being a trainee to being a student, it's those moments of reflexion and introspection that the company often ask of them. teachers do not care about personal and indivualized progress; all classes had their own objectives and students passed a class by meeting all the requirements. being a trainee is far more intricate, a fine balance between individuality and homogeneity.

what do you think are your strengths right now?

there isn't much need to think this question over as his strengths are quite obvious: "singing, acting and performing". he answers right away. considering he owns a bachelor degree of arts specialized in musical acting, lacking in any of these three skills would've been surprising. and even as a trainee, he still tends to put more work (and have more interest) in those skills. he's aware that this can be a fault of is, but eunwoo isn't the type to put time and effort in anything that doesn't pique his interest.

what are three skills that you would like to work on starting 2024?

expecting to be ask what he 'would like' to work on during the following year and not what he 'should' work on surprised eunwoo a bit. there's often a margin between these two concepts and rarely a middle ground. eunwoo has to think carefully about his answer this time. after a few seconds, he finally replies 'first, dancing; i've always been behind on that skill and I want to get better." this is middle ground where the desire and the need meet. he's not particularly fond of dancing, but the skill will be required of him no matter which path he decides to take. "i would also like to develop my bass playing skills. it's an instrument i've discovered during my early teens and never got to learn much of it until now." finally, he tilts his head from side to side, hesitant. "i guess i'm hesitant between learning a speaking skill, like hosting, and brushing up my english skills..." he explains. "but since this is about what i'd 'like', i'll go with mastering english".

if given a chance, what types of gigs would you be interested in participating?

"i think it's pretty obvious that i will pick musicals" he replies with a cheeky grin. "i've studied in that field and really like performing as a musical actor. while it doesn't come with the limelight of being an idol, i think musical actors are some of the most complete artists in the industry; they must know how to sing, dance, perform and act all at the same time. it's not easy, but it's fun." the trainee explains. "and i guess as second choice i would go with acting?" this time, he seems uncertain. "i guess my interests and skills are a bit limited. i can't see myself do modeling jobs" he cringes, just thinking about it. "and i don't have the skills nor the personality to do well in varieties. so acting it is. i at least have the skills for it."

during your time here in legacy, what are some of the lessons that you’ve learned about yourself?

this one is a little difficult. especially in terms of honesty. the truth would likely close some doors to him. he rubs his hands on his trousers a bit absentmindedly, weighting the pros and cons of revealing what he has truly learned about himself. as time ticks, he comes to the conclusion that he has no other options but to tell the truth... in a roundabout way. "i think, to be a celebrity, you need to at least tolerate the attention of others. loving singing, dancing, being on stage - or whatever - cannot be enough to accept the scrutiny of the media and fans that come with the stardom that idols receive." he says. "when i used to have an instagram account, to be completely honest, receiving likes and seeing my followers count grow would make happy. i never had too many followers, but seeing big numbers made me proud. so i thought i'd like the attention of fans too... but instead, i've realized that i'm fine without attention. i actually feel better without it. doing the red carpet on halloween was one of the toughest things i had to do this year." he explains, finally dropping the ball. "in other words, i guess i'm not that much of an attention seeker." he jokes. in other words; he might not be cut to be an idol.