Essential The Locker Room's Random Thoughts
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Ol’Otis
The Picasso of the Ghetto
mulatto means a cac parent right? 
Wtf is going on??!! I used to watch this show. Omg!!! Noooo!!
Gerren Taylor, Star of BET's Baldwin Hills, Dead at 30: 'You Will Be Missed'
'Baldwin Hills' Star Gerren Taylor Passes Away At 30
Gerren Taylor, Star of BET's Baldwin Hills, Dead at 30: 'You Will Be Missed'
'Baldwin Hills' Star Gerren Taylor Passes Away At 30
I hit 4 out of the 5 numbers on the Fantasy 5. I could of won $150K, but instead I just get $161 
Tina Turner
Tina Turner
Vocal Type: Mezzo Soprano
Vocal Range: 3 Octaves 4 notes and a semitone F2-C#6
Whistle Register: No
Vocal Pluses:Energetic and natural voice that has a character that is readily identifiable. Tina Turner's exceptional control means she is capable of varied timbres and tones that give her a great versatility that allows her adapt to many different genres of music [Rock/Pop/Adult Contemporary/Blues]. Her great technique has ultimately resulted in her still singing well, into her seventies.
Tina Turner sounds comfortable and at ease with second octave notes, which are reached seemingly effortlessly. The notes themselves are thick and full, with a husky, androgynous quality to them [In Your Wildest Dreams ]. Her midrange is also thick and rounded with a warm and full timbre that is connected seamlessly to both the lower range and the belting range.
The mastery of her lower range is mirrored in the belting range of the voice. She has the ability to sing high up into the fifth octave, but the voice finds the most resonance at around a C5. Whereas previously it had a rasp and an edge to it- Respect- it has since mellowed and smoothed as she has aged- Golden Eye. This change could also be due to the Diva adapting her technique and mixing more to reach the higher notes. If this is the case, then artistic choice is dictating the coarseness of the timbre more so than anything else.
Surprisingly for someone with such a strong lower range, Tina Turner also has access to a mid-weight, but bright and piercing head voice [Two People].
Vocal Negatives:Some of Tina Turner's earlier trademark growls, grunts and raspy vocals were achieved via questionable technique.
Tina Turner
Vocal Type: Mezzo Soprano
Vocal Range: 3 Octaves 4 notes and a semitone F2-C#6
Whistle Register: No
Vocal Pluses:Energetic and natural voice that has a character that is readily identifiable. Tina Turner's exceptional control means she is capable of varied timbres and tones that give her a great versatility that allows her adapt to many different genres of music [Rock/Pop/Adult Contemporary/Blues]. Her great technique has ultimately resulted in her still singing well, into her seventies.
Tina Turner sounds comfortable and at ease with second octave notes, which are reached seemingly effortlessly. The notes themselves are thick and full, with a husky, androgynous quality to them [In Your Wildest Dreams ]. Her midrange is also thick and rounded with a warm and full timbre that is connected seamlessly to both the lower range and the belting range.
The mastery of her lower range is mirrored in the belting range of the voice. She has the ability to sing high up into the fifth octave, but the voice finds the most resonance at around a C5. Whereas previously it had a rasp and an edge to it- Respect- it has since mellowed and smoothed as she has aged- Golden Eye. This change could also be due to the Diva adapting her technique and mixing more to reach the higher notes. If this is the case, then artistic choice is dictating the coarseness of the timbre more so than anything else.
Surprisingly for someone with such a strong lower range, Tina Turner also has access to a mid-weight, but bright and piercing head voice [Two People].
Vocal Negatives:Some of Tina Turner's earlier trademark growls, grunts and raspy vocals were achieved via questionable technique.
King
The black man is always targeted.
Put that 401k into an LLC and flip your money brehI hit 4 out of the 5 numbers on the Fantasy 5. I could of won $150K, but instead I just get $161
Whitney Houston - Vocal Profile/ Range
Whitney Houston
Vocal Type Mezzo Soprano
Vocal Range: 3.2 Octaves. A2- C6 (approx)
Whistle Register: No
Longest Note: 16 seconds - Greatest Love Of All (Live)
Vocal Pluses: The timbre of Whitney Houston's voice is her crowning glory: thick, luscious and velvety. Her midrange is where the voice finds its strength, and she is famed for her powerful, dark and emotive belting at the top part of this range. The higher chest notes, past a C5, lose power and weight as they ascend higher and are mixed with the head voice, but they still retain a notable, and identifiable, character. The head voice, on its own, is thick, warm, and slightly smoky with a resonance that mirrors that of her midrange belting voice. Whitney is able to switch to this part of her voice with apparent ease.
Whitney Houston is famed for having brought melisma/vocal runs to the masses, and as such, it is no surprise that her voice is able to execute incredibly fast, and complex runs with pinpoint accuracy. She also has the stamina to hold notes- see I Will always love you- for lengths of time without wavering in pitch. Notes can also be coloured with the use of her impressive vibrato, which she can modify the speed of to dramatic effect by quivering her lip. Her trademark vibrato, along with the midrange belt and thick head voice, is one of the iconic aspects of her remarkable voice.
Whitney Houston
Vocal Type Mezzo Soprano
Vocal Range: 3.2 Octaves. A2- C6 (approx)
Whistle Register: No
Longest Note: 16 seconds - Greatest Love Of All (Live)
Vocal Pluses: The timbre of Whitney Houston's voice is her crowning glory: thick, luscious and velvety. Her midrange is where the voice finds its strength, and she is famed for her powerful, dark and emotive belting at the top part of this range. The higher chest notes, past a C5, lose power and weight as they ascend higher and are mixed with the head voice, but they still retain a notable, and identifiable, character. The head voice, on its own, is thick, warm, and slightly smoky with a resonance that mirrors that of her midrange belting voice. Whitney is able to switch to this part of her voice with apparent ease.
Whitney Houston is famed for having brought melisma/vocal runs to the masses, and as such, it is no surprise that her voice is able to execute incredibly fast, and complex runs with pinpoint accuracy. She also has the stamina to hold notes- see I Will always love you- for lengths of time without wavering in pitch. Notes can also be coloured with the use of her impressive vibrato, which she can modify the speed of to dramatic effect by quivering her lip. Her trademark vibrato, along with the midrange belt and thick head voice, is one of the iconic aspects of her remarkable voice.
Aretha Franklin - Vocal Profile/ Range
Aretha Franklin
Vocal Type: Mezzo-soprano
Whistle Register: No
Vocal Range: 3.5 G2- E6 (approx)
Longest Note: 5 seconds ("old landmark")
Vocal Pluses: Powerful, passionate voice, which is grounded in the Gospel tradition. Both a technical and an emotive singer, Aretha Franklin is able to sing complex vocal runs, that can span the top of her range right down to the bottom, as well as hold notes for lengths of time with ease.
Aretha Franklin has a well connected range, that appears to sound easily accessible both at the top and the bottom. The lower range is thick and weighty with a dark colouring and a slightly smoky timbre. The midrange begins to become more nasal, and lighter as it ascends into the belting range.
The belting range is incredibly elastic and powerful, having been known to hit a D6 when mixed with its head voice [listen here]. This part of the range is characterful and easily attributable to Aretha Franklin, due in part to its quick vibrato and nasal tone. Though her voice becomes lighter as its frequency increases, it still retains its resonance and power up into its top reaches. Her flexibility and ease in this part of the range is almost unparalleled.
Aretha Franklin
Vocal Type: Mezzo-soprano
Whistle Register: No
Vocal Range: 3.5 G2- E6 (approx)
Longest Note: 5 seconds ("old landmark")
Vocal Pluses: Powerful, passionate voice, which is grounded in the Gospel tradition. Both a technical and an emotive singer, Aretha Franklin is able to sing complex vocal runs, that can span the top of her range right down to the bottom, as well as hold notes for lengths of time with ease.
Aretha Franklin has a well connected range, that appears to sound easily accessible both at the top and the bottom. The lower range is thick and weighty with a dark colouring and a slightly smoky timbre. The midrange begins to become more nasal, and lighter as it ascends into the belting range.
The belting range is incredibly elastic and powerful, having been known to hit a D6 when mixed with its head voice [listen here]. This part of the range is characterful and easily attributable to Aretha Franklin, due in part to its quick vibrato and nasal tone. Though her voice becomes lighter as its frequency increases, it still retains its resonance and power up into its top reaches. Her flexibility and ease in this part of the range is almost unparalleled.
Patti LaBelle
Patti LaBelle
Vocal Type: Dramatic Soprano
Vocal Range: 3 Octaves 3 notes and a semitone (Bb2-E6)
Whistle Register: No
Vocal Pluses: LaBelle is distinctly known for her explosive, powerful and incredibly emotive voice. Having started her long-standing career in vocal groups such as ‘Patti LaBelle and the Bluebells’ and ‘LaBelle’, this singer has built an excellent level of musicality in regards to harmonizing. A skill which has served her well, even once a solo star, thanks to her fondness for duetting and collaborating with others. A notable pairings was that which occurred with Cyndi Lauper when they sang Time after Time. Here, LaBelle showcased her skill to fuse her own vocals with another's in a way that was both complimentary and sympathetic to her duetting partner's own voice. Considering the natural power that lies behind LaBelle's instrument it shows the great skill, control and restraint she has as a singer.
The lower extremities (Bb2 – E3) can sound somewhat less projected in comparison to the upper range, with this area tending to sound dry and distended. However due to her impeccable technique the notes sound healthy and well placed, if not entirely full. As the voice ascends towards the mid-range it quickly thickens connecting the voice to the mid-range.
In the mid-range LaBelle’s voice becomes somewhat fuller, more dynamic and takes on a notable and distinctive sound. This part of the voice is entirely unique to LaBelle in that not only is the voice full and powerful enough to cut through an orchestra, but it is typically deeper and more fulsome when compared to other sopranos. However due to LaBelle's excellent artistry she can alter the sound to best fit the material she is singing, for example on Oh People LaBelle displays a softer more nuanced edge to her voice in comparison to her Two Steps Away tribute where this section is more full, pronounced and direct.
The head voice and upper range is where LaBelle displays her skills as a vocal behemoth. This area, including the belting range, is incredibly powerful , full and elastic. Again displayed in her ‘Two Steps Away’ tribute, LaBelle shows an uncanny ability to flip straight up into high octave belts, all the whilst adopting an impressive technique that allows her to hold high notes with great ease.
The rare ability to project a full-sounding belt, right up to the soprano C6 is an incredibly impressive feat, and LaBelle has consistently shown able to do so with apparent ease. This upper-register extends right up to E6, which is marked with a dramatic, rounded and potent sound.
Overall, LaBelle is an exceptionally adept technician who has honed her skills via decades of experience in the industry. With exceptional control over every aspect of her voice- including its dynamics, tone, timbre and phrasing- she wields it with freedom and an instinctive edge. Able to hold notes, jump threw registers, use interesting and complex melisma, and perform vocal tricks (like octave-spanning glissando), it is little wonder that Patti is revered amongst singers and non-singers alike. It's also due to her technique that she has maintained much of her voice as she has aged, including her ability to heavily load belts in the upper regions. Though there has been a slight deterioration in power, she still remains a vocal force to be reckoned with.
Patti LaBelle
Vocal Type: Dramatic Soprano
Vocal Range: 3 Octaves 3 notes and a semitone (Bb2-E6)
Whistle Register: No
Vocal Pluses: LaBelle is distinctly known for her explosive, powerful and incredibly emotive voice. Having started her long-standing career in vocal groups such as ‘Patti LaBelle and the Bluebells’ and ‘LaBelle’, this singer has built an excellent level of musicality in regards to harmonizing. A skill which has served her well, even once a solo star, thanks to her fondness for duetting and collaborating with others. A notable pairings was that which occurred with Cyndi Lauper when they sang Time after Time. Here, LaBelle showcased her skill to fuse her own vocals with another's in a way that was both complimentary and sympathetic to her duetting partner's own voice. Considering the natural power that lies behind LaBelle's instrument it shows the great skill, control and restraint she has as a singer.
The lower extremities (Bb2 – E3) can sound somewhat less projected in comparison to the upper range, with this area tending to sound dry and distended. However due to her impeccable technique the notes sound healthy and well placed, if not entirely full. As the voice ascends towards the mid-range it quickly thickens connecting the voice to the mid-range.
In the mid-range LaBelle’s voice becomes somewhat fuller, more dynamic and takes on a notable and distinctive sound. This part of the voice is entirely unique to LaBelle in that not only is the voice full and powerful enough to cut through an orchestra, but it is typically deeper and more fulsome when compared to other sopranos. However due to LaBelle's excellent artistry she can alter the sound to best fit the material she is singing, for example on Oh People LaBelle displays a softer more nuanced edge to her voice in comparison to her Two Steps Away tribute where this section is more full, pronounced and direct.
The head voice and upper range is where LaBelle displays her skills as a vocal behemoth. This area, including the belting range, is incredibly powerful , full and elastic. Again displayed in her ‘Two Steps Away’ tribute, LaBelle shows an uncanny ability to flip straight up into high octave belts, all the whilst adopting an impressive technique that allows her to hold high notes with great ease.
The rare ability to project a full-sounding belt, right up to the soprano C6 is an incredibly impressive feat, and LaBelle has consistently shown able to do so with apparent ease. This upper-register extends right up to E6, which is marked with a dramatic, rounded and potent sound.
Overall, LaBelle is an exceptionally adept technician who has honed her skills via decades of experience in the industry. With exceptional control over every aspect of her voice- including its dynamics, tone, timbre and phrasing- she wields it with freedom and an instinctive edge. Able to hold notes, jump threw registers, use interesting and complex melisma, and perform vocal tricks (like octave-spanning glissando), it is little wonder that Patti is revered amongst singers and non-singers alike. It's also due to her technique that she has maintained much of her voice as she has aged, including her ability to heavily load belts in the upper regions. Though there has been a slight deterioration in power, she still remains a vocal force to be reckoned with.
Chaka Khan
Chaka Khan
Vocal Type: Spinto Mezzo-Soprano
Vocal Range: F2-B5 (3 octaves and a diminished fifth) (B2-E6)
Whistle Register: No
Vocal Pluses: Chaka is a unique singer, with her own style of inflection and timbre. Her voice has some similarities to other singers of her generation, but always retains a sound distinctly her own. Though her timbre is bright, she has an unusual amount of power behind her notes.
The low range is quite impressive, spanning down into the second octave. Her lows can either be smoky and whispery or more solid and defined, and though never achieving the same volume as her high range, her low notes retain her tone and style The lower range stays mostly homogeneous to the rest of the range.
Her middle range, starting around G3, has many timbres and textures that it can assume, and transitions absolutely seamlessly from the lower middle range to the top of her voice. The middle range has a peculiar ‘forward’ sound that gives the impression of the tone used in the belted range, aiding the sound of seamless transition.
The belted range is technically incredible, and the defining aspect of her voice. Going all the way up to a thrilling B5, the belted notes are brassy, bright, and full in sound – they are always mixed perfectly, and flow easily, though time has stripped Chaka of the top belts. Thanks to her mixing, she goes to the absolute top of her viable range, but belts far beyond ‘typical’ highs for any voice type.
Her head voice (whenever it is heard) is light, bright, and somewhat breathy.
Chaka Khan
Vocal Type: Spinto Mezzo-Soprano
Vocal Range: F2-B5 (3 octaves and a diminished fifth) (B2-E6)
Whistle Register: No
Vocal Pluses: Chaka is a unique singer, with her own style of inflection and timbre. Her voice has some similarities to other singers of her generation, but always retains a sound distinctly her own. Though her timbre is bright, she has an unusual amount of power behind her notes.
The low range is quite impressive, spanning down into the second octave. Her lows can either be smoky and whispery or more solid and defined, and though never achieving the same volume as her high range, her low notes retain her tone and style The lower range stays mostly homogeneous to the rest of the range.
Her middle range, starting around G3, has many timbres and textures that it can assume, and transitions absolutely seamlessly from the lower middle range to the top of her voice. The middle range has a peculiar ‘forward’ sound that gives the impression of the tone used in the belted range, aiding the sound of seamless transition.
The belted range is technically incredible, and the defining aspect of her voice. Going all the way up to a thrilling B5, the belted notes are brassy, bright, and full in sound – they are always mixed perfectly, and flow easily, though time has stripped Chaka of the top belts. Thanks to her mixing, she goes to the absolute top of her viable range, but belts far beyond ‘typical’ highs for any voice type.
Her head voice (whenever it is heard) is light, bright, and somewhat breathy.
Mariah Carey
Mariah Carey
Vocal Type: Lyric Soprano (considers herself an alto)
Vocal Range: 5 octaves 2 notes and a semi-tone . E2- G#7
Whistle register: Yes
Longest Note: 20 seconds - 'Lead The Way'
Vocal Pluses: Vocal dynamics are second to none: able to go from a crystal clear, high octave belt to an airy whisper within syllable. Has gorgeous low and high notes that are complimented by an uncanny ability to pitch an exact note, without the need of vocal runs or slides [Love Takes Time]. When Vocal runs are utilised by Carey they are incredibly accurate and always sympathetic to the song's key signature, tempo and style, thus giving her the moniker the "Queen of melisma"[Improv]. It's a skill that can be called on in each of the registers, as well as used to traverse through them[Art Of Letting Go]. Technically a brilliant singer.
Mariah Carey's lower range is dark and heavy. With the voice's husky quality, the Diva can reach second octave notes reasonable comfortably [You and I], however she is most comfortable from a c3 upwards.
The mid-range can either be solid, slightly nasal and resonant [Standing O] or airy and light, almost as if whispering [Christmas Time Is In The Air Again]. It's with these two contrasting singing styles that the Diva is often heard weaving harmonies [I'm that Chick] and playing with dynamics [H.A.T.E.U. ].
The belting voice is elastic and wide, with the lower half being resonant and full [Without you], and the top, brighter and lighter [My Saving Grace]. As Carey's voice ascends the belting range, past D5, the timbre begins to thin, drop weight and lose some of its character as it takes on a headier mix. However, it remains clear and distinct throughout, with the Diva still being able to hold an impressively ringing F5 due to her excellent technique.
The head voice and whistle register are easily accessible to the Diva. Both can have their timbre modified depending on what is artistically called for; being either fuller and piercing [Examples: Head/Whistle] or softer and airier [Examples: Head/Whistle]. As well as being able to pitch notes with incredible accuracy in the whistle register, Carey is capable of articulating words [ Bliss] and sing within the register for long periods of time without vocal fatigue [Angels Cry Interlude.]
Mariah Carey
Vocal Type: Lyric Soprano (considers herself an alto)
Vocal Range: 5 octaves 2 notes and a semi-tone . E2- G#7
Whistle register: Yes
Longest Note: 20 seconds - 'Lead The Way'
Vocal Pluses: Vocal dynamics are second to none: able to go from a crystal clear, high octave belt to an airy whisper within syllable. Has gorgeous low and high notes that are complimented by an uncanny ability to pitch an exact note, without the need of vocal runs or slides [Love Takes Time]. When Vocal runs are utilised by Carey they are incredibly accurate and always sympathetic to the song's key signature, tempo and style, thus giving her the moniker the "Queen of melisma"[Improv]. It's a skill that can be called on in each of the registers, as well as used to traverse through them[Art Of Letting Go]. Technically a brilliant singer.
Mariah Carey's lower range is dark and heavy. With the voice's husky quality, the Diva can reach second octave notes reasonable comfortably [You and I], however she is most comfortable from a c3 upwards.
The mid-range can either be solid, slightly nasal and resonant [Standing O] or airy and light, almost as if whispering [Christmas Time Is In The Air Again]. It's with these two contrasting singing styles that the Diva is often heard weaving harmonies [I'm that Chick] and playing with dynamics [H.A.T.E.U. ].
The belting voice is elastic and wide, with the lower half being resonant and full [Without you], and the top, brighter and lighter [My Saving Grace]. As Carey's voice ascends the belting range, past D5, the timbre begins to thin, drop weight and lose some of its character as it takes on a headier mix. However, it remains clear and distinct throughout, with the Diva still being able to hold an impressively ringing F5 due to her excellent technique.
The head voice and whistle register are easily accessible to the Diva. Both can have their timbre modified depending on what is artistically called for; being either fuller and piercing [Examples: Head/Whistle] or softer and airier [Examples: Head/Whistle]. As well as being able to pitch notes with incredible accuracy in the whistle register, Carey is capable of articulating words [ Bliss] and sing within the register for long periods of time without vocal fatigue [Angels Cry Interlude.]
Beyonce
Beyonce Knowles
Vocal Type: Coloratura (Light-Lyric) Mezzo
Vocal Range: 4 octaves. F2-F6 (approx)
Whistle Register: No
Longest Note: 14 seconds - 'Flaws And All' (live)
Vocal Pluses: A technical singer who has trained their voice into one of the strongest in the industry. Her incredible vocal flexibility and dexterity allows for pin-point accurate, and quick melisma that can traverse through the registers [Link]. In addition, her exceptional breath and core support means Beyonce can hold notes, vocalise long phrases and dance with little decline in vocal quality. She is also in possession of a variable vibrato that is considered one of the best in the business [Link ]. She often adds this to “polish” notes and negate any shrillness that may be present.
Through It with Love]. However, she is now able to hit such lows with a solid, dark and ringing timbre [Dance ForYou ].
The Diva’s mid-range connects seamlessly to the lower range [Superpower]. It is rounded, smooth, of medium weight and with a slight androgynous quality to it. Though the tone and timbre remains static here, Beyonce can increase its expressiveness by playing with other variables. For instance, in Drunk In Love she injects sexuality and desire into the vocal by stretching out words and playing with tempo. Contrast this to Heaven where the same tone is used but an entirely different emotion is manifested by the slow and measured delivery.
The belting range is where Beyonce’s voice shines brightest. Her lower belts are full and clean with a resonant sound to them [Blue]. The higher she ascends, the brighter, lighter and more feminine the voice becomes. Favoring a head-dominate mix in the fifth octave, the tone produced is crystal clear, malleable and slightly metallic. The ease with which she accesses these notes gives the range an effortless and elastic quality.
Even at its extremes, the belting range sounds to be comfortable and remains attributable to the singer- with the voice retaining much of its character [Listen ]. So stable and expertly created are these notes, that the Diva can sustain them [Sweet Love ]; sing melisma with them [Crazy in Love live ]; and apply healthy sounding textural adornments (such as grunts and growls) [Me myself and I live].
The head voice is perhaps the most multifaceted part of the instrument. It can used with a light and airy, falsetto-esque timbre that is easy to harmonise [No Angel ]; with a resonant and piercing ring [Emotions Live]; or be operatic, full and controlled [Background Flawless ]. All are used sensitively and sympathetically with the production in which they are housed.
Vocal Negatives: Voice can become shrill when belted higher notes are used minus the vibrato.
Beyonce Knowles
Vocal Type: Coloratura (Light-Lyric) Mezzo
Vocal Range: 4 octaves. F2-F6 (approx)
Whistle Register: No
Longest Note: 14 seconds - 'Flaws And All' (live)
Vocal Pluses: A technical singer who has trained their voice into one of the strongest in the industry. Her incredible vocal flexibility and dexterity allows for pin-point accurate, and quick melisma that can traverse through the registers [Link]. In addition, her exceptional breath and core support means Beyonce can hold notes, vocalise long phrases and dance with little decline in vocal quality. She is also in possession of a variable vibrato that is considered one of the best in the business [Link ]. She often adds this to “polish” notes and negate any shrillness that may be present.
Through It with Love]. However, she is now able to hit such lows with a solid, dark and ringing timbre [Dance ForYou ].
The Diva’s mid-range connects seamlessly to the lower range [Superpower]. It is rounded, smooth, of medium weight and with a slight androgynous quality to it. Though the tone and timbre remains static here, Beyonce can increase its expressiveness by playing with other variables. For instance, in Drunk In Love she injects sexuality and desire into the vocal by stretching out words and playing with tempo. Contrast this to Heaven where the same tone is used but an entirely different emotion is manifested by the slow and measured delivery.
The belting range is where Beyonce’s voice shines brightest. Her lower belts are full and clean with a resonant sound to them [Blue]. The higher she ascends, the brighter, lighter and more feminine the voice becomes. Favoring a head-dominate mix in the fifth octave, the tone produced is crystal clear, malleable and slightly metallic. The ease with which she accesses these notes gives the range an effortless and elastic quality.
Even at its extremes, the belting range sounds to be comfortable and remains attributable to the singer- with the voice retaining much of its character [Listen ]. So stable and expertly created are these notes, that the Diva can sustain them [Sweet Love ]; sing melisma with them [Crazy in Love live ]; and apply healthy sounding textural adornments (such as grunts and growls) [Me myself and I live].
The head voice is perhaps the most multifaceted part of the instrument. It can used with a light and airy, falsetto-esque timbre that is easy to harmonise [No Angel ]; with a resonant and piercing ring [Emotions Live]; or be operatic, full and controlled [Background Flawless ]. All are used sensitively and sympathetically with the production in which they are housed.
Vocal Negatives: Voice can become shrill when belted higher notes are used minus the vibrato.
. I stay out of all race baiting news/topics etc etc.. at least attempt to
What NBA should do, ESPN etc keeps saying they want to do more should do more
Ban they a** from all NBA games 
If they're not working security
They're names public record, it's the principal.
The policy would set the tone of the no toleration of that murderous behavior.
May set fire under their asses to police their own kind
If they can't behave in civilized society, they shouldn't be accepted
