Kardashian’s voice has a hint of smile in it from the top — this says he likes to be interviewed but is uncomfortable with anyone knowing that — he’s trying to be cool.
However, he has emotion and energy on the words “so rigged” and disappointment and resignation on the words “guaranteed you go to seven” — he believes his theory, though he doesn’t state any concrete evidence which would account for the rant-like rhythm (the repetition of the word “seven ” 3 times, run-on sentence structure).
He says Celtics and Lakers not Lakers and Celtics — Kardashian putting the Celtics first means he sees them as more powerful, as a threat, or perhaps his favorite team.

Jerry Seinfeld on WFAN New York re Lady Gaga at the Mets Game:
“…this woman’s a jerk I hate her…I say I can’t believe that they put her in my box…you give people the finger and you get upgraded…is that the world we’re living in now?…”

Harsh words for a woman — “jerk” and “hate” — humor comes from some kind of pain, complaint, distress —
Jerry’s uses humor, like Jon Stewart and Stephen Colbert, as an advanced intellectual means of developing new perspectives and coping with extreme circumstances.
Jerry’s voice and language reflect that he thinks Gaga was extreme — it’s his unique perspective and delivery that make it funny.
He doesn’t really hate Gaga - but he sure enjoys saying it — he can’t relate to her, hence the: I can’t believe they put her in “my” box — which says: I, Jerry have nothing in common with this woman.

Her voice/language indicates she’s comfortable with him being gone.

What’s glaring in this bite is the missing one-word answer the question “did she marry him for fame?’ And that word is “No” — also what’s missing is her being offended by the question .

ET interview on “taking Gary off life support”
“The doctors advised me you know that this is the best decision for him because he wasn’t going to hold out um it was the best for him go and not suffer he was already a vegetable basically like his you know every his involuntary functions were not working like his eyes his you know blood pressure his heart basically all those functions were gone.”

She starts whispering in a bed-side manner on “that this is the best decision..” in an almost recreation of how one doctor might have sounded telling her this. I bring this up because she starts off saying the “doctors advised me..” — doctorS plural, yet this bed-side whisper tone reflects one doctor’s voice in particular made an impression OR there was only one doctor advising her to begin with and her saying “the doctors advised me” — more than one doctor is not accurate or this is her way of telling herself, convincing herself and/or us that she made the right decision. No matter, her voice going into the bed-side whisper tone out of nowhere is a fascinating defense mechanism.

Unlike the Insider interview, in this ET one, she uses the present tense in: “that this IS (not WAS) the best decision…” this would indicate she’s still wrestling on some level with the decision.

Oprah: had you ever attempted to do anything like this before?
Sarah: no i don’t think so…NO of course not no I no
Oprah: To sell your…
Sarah: NO
Oprah: …anything?
Sarah: No
Oprah: or to offer Access to yourself or any member of the royal family?
Sarah: No way No No…
Oprah: Did you ever attempt to do anything like that before?

A lot on No’s from Sarah here — but it’s the range of the No’s that’s interesting.

“No I don’t think so” — authentic, really contemplates if she has ever attempted this before, vocal tone reflect that Sarah is speaking to herself here then she quickly snaps out of it, w/ an outburst of “NO of course not” as if hearing herself in an unrehearsed moment

When Oprah clarifies w/ “To sell your anything, Sarah has another outburst w/ “NO” at the words “To sell your” — “sell your” touches a nerve…The way she says the word NO here reflects that she Sarah hears Oprah as proposing something inappropriate. The rest of the No’s that follow, that Sarah responds with are not emotional and repetitive, using the word “No” to dismiss the bad, to make it go away — Interesting that this bite starts w/ the iffy “no I don’t think so” and ends with “No way, no”

Sarah: I suppose I’ve tried to be perfect for 25 years you know I started at or even longer I started to use food as my friend when I was 12 and then um tried to do everything right and little Sarah got lost on along the way

Sarah’s math is a little off here which highlights the rehearsed nature of her answer. Perfect for 25 years, started at 12 — 12 plus 25 is 37 — Sarah is 50 — something’s off — she’s not being clear with what she wants to say here. The vocal tone is a bit numb and her inflection lacks intention. She’s just talking…not a great interview technique — and I’ll tell you why she not being clear — when Oprah asks Sarah “Had you ever attempted ‘this’ before?” — Sarah, in order to be effective in an interview, would have to be clear and own what “this” actually is

Overall: using stock answers and being inconsistent she comes across less than trustworthy

Lee The Boxer was at best a sing-a-long — Lee didn’t seem to understand what he was singing about (on ALL songs) and The Boxer hook La da di di di di’s needed to be sung with abandonment — as I said last week where Lee left off with Hallelujah – that vulnerability — is where I advised him start last night

Last week I said Lee made strong entrances into his songs, and last night was the opposite. A singer’s entrance sets the tone of performance — you either bring us into the world of the song and we go on the ride with you OR you don’t bring us in and we remain at arm’s length at best.

Lee gets connected to a song by making the melody his own, changing it up so to speak….on Everybody Hurts and Beautiful Day he didn’t make the melody his own and that’s why the songs seemed too big for him –- both hands clutching mic during Beautiful Day kept Lee closed-off and tighter vs. arms outstretched at some point would’ve made all the difference – would have made him vulnerable, accessible

Lee needs more experience – not asking him to be someone he’s not….Lee says he’s happy – I’d work to bring that out more – it’s not about smiling, it’s about celebrating

Throughout the season and last night was no different — anytime Lee would wail in his upper range the girls scream – that’s what they’re voting for, that thrill they get from his voice, the sound excites them

Lee’s accessibility is his commercial sound which is different from Crystal’s accessibility which is her ability to connect to a lyric and allow her voice to reflect that connection

*****It’s a matter of taste and more to the point the taste of Idol’s demographic which favors Lee

Crystal was not on her voice, slightly shakey with entrance on Bobby McGee but stood her ground by breathing — good for her —
Black Velvet/2nd was in the wrong key, should’ve been lower so it wouldn’t have been so strained in upper range — in the opening phrases I could feel her anticipating walking down the staircase (in heels) didn’t help her bring us into the world of the song and keep the connection – however great to hear her sing her face off as I suggested she do last week
Crystal was really warmed up by the time she got to her final song Up to the Mountain and her voice did everything a voice can do to interpret a lyric and cast a spell over an audience

Crystal’s not in the space of being hungry and winning
Lee’s energized and moved by the trip home he was able to infuse that feeling into his songs, more than he’s done in the past —

Casey “Ok It’s All Right With Me” (Eric Hutchinson) – he’s living on the surface, not digging deep – only way for it to work for Casey would be to make it a slow dirty groove, would’ve fit the lyric “my life continues inching along”

Crystal says she wants to have fun and get votes – “Come to my window” – harmonica intro throws her off her first line and she just said she wanted to have fun, if that’s the goal I would’ve had Crystal start more playful with the guitar swung around her back…she’s lost who she’s singing into — harmonica was in the way and keeping her closed off and awkward, not enough pay-off using it in this short arrangement – vocal was screaming, not supporting the high notes
She tells Ryan she felt “elated ” but didn’t sound it – (a song being your favorite song is not enough of a reason to sing the song) – “glad I got my mic stand, good health, good friends and my son’s healthy…that’s what all it’s about…” – No, nothing to do with the song — her voice sounded like she was resigned as she was speaking – definitely not hungry — resigned

Lee “Simple Man” Understood himself in the song, solid first line, brought us into the world, radio-ready vocal quality – off key on the high notes, bordered on screaming the higher “Simple Mans” – Lee was forcing vs. committing 100 per cent to telling the story — when you lock onto the story, the vocal happens
Lee told tells Simon he’s really happy singing the song – was this a happy person during? Lee was more lit up after the song — that’s I would show Lee — how to light up during the song
I would tell Lee to hold his last notes of his songs, don’t drop the endings, that’s the moment you leave us with – do killer vocal work on a last note, dare to stand in that light – It ain’t over til it’s over and even then it’s not over

Casey “Daughters” (Mayer) does not have the image of the girl he singing about from the top – eyes closed too much – lower range lacked warmth, he swallowed the lyric — key half- step higher would’ve helped – also I would have told Casey to sing the chorus melody like a guitar solo – this would’ve taken it to another level for Casey re connection

Crystal “Maybe I’m Amazed” she’s nervous, voice is shaking, needs to breathe – voice is a bit shot and she’s forcing it – had not decided who she was singing to, with the gender bender lyric ‘maybe I’m a man…in the middle of something HE doesn’t understand” not “I” which is what she sang — she hadn’t worked out the lyric as metaphor – this fed this unevenness b/c Crystal doesn’t usually compromise but she did there – Crystal wasn’t grounded w/o guitar — grounded is a physical thing not theoretical — Crystal you must feel your feet on the stage as you’re working the stage, keep those knees loose, don’t lock them when your standing – and at the end of the song on the lyric “help me” — Crystal you should be reaching out for help while singing that – vulnerable and hungry

Lee “Hallelujah” good entrance vocally into the song; great take on the lyric ‘hallelujah’ had me at hallelujah — made each big hallelujah his - ran out of air on the last one BUT THERE WAS AN ABANDONMENT TO WHAT WAS REHEARSED AND that made magic possible – Lee, where you ended with Hallelujah is where you must start a song, with that level of openness b/c when you do, the unknown is possible and that magic will be there for you — would have Lee hold the last note forever – choir was not necessary but didn’t take away from – the song elicits emotion on it’s own and Lee was set up with lighting – still has pitch problems but better overall b/c of connection

Here’s where we are at — 3 important facts
-Producers gave America the pay-off early and let them know what a Crystal/Lee Final would look and sound like
-Casey will benefit from his duet w/ Mike- they had a friendly rapport, knuckle punch at end of song – told Mike’s fans that Casey’s cool – Mike’s votes will roll over to Casey
-The fact is Voters want surprises in a finale – this season, still waiting for that Breakout Performance “Show MoJo” (Andrew G’s “Straight Up” – David Cook’s “Billie Jean,” Adam Lambert’s “Mad World”) – I’ve Coaching for these final 3 that’ll unleash the beast

Crystal – top dog
-her talent and poise are in a different league
-picks songs that personally resonate w/ her and delivers those in connected fashion
-is her own woman and stands by that and the artist that she knows she is
My Breakout Performance Coaching for Crystal:
-give one Diva performance; stop resisting going big and just show that your vocal instrument cannot be denied and is incomparable this season, sing your face off
-To that point pick a real Girl Power song — this could fire up the ladies voting block in her favor
-also on the opposite end of the spectrum, pick a song that shows deep vulnerability — could win some over, her confidence can be off putting to some
-sing high in your head voice, even a bit breathy – would be breathtaking and beautiful and would speak to voter’s hearts – “girl next door”

Lee - under dog
-David Cook , Kris Allen paved the way, a new day…dudes w/ guitars are kings -Idol biggest voting block, ladies of all ages love an attractive dude with a guitar
-his raw voice, especially let loose in his upper range is very commercial and reminiscent of Caleb Followill, Lead singer of Kings of Leon, who had big hits last summer
-His shyness (his insecurity seems to have been beaten into him) is very endearing to voters
My Break Out Performance Coaching for Lee:
-Swing your guitar around your back at times, this would open him up, make him feel like a rock star and keep him connect to his guitar
-stomp out the exact beat with your right foot (Lee’s foot taps the floor lightly and randomly) – would release a real passion and improve pitch because he’d get out of his head
-raise the keys of his songs as much as a whole step – be more exciting vocally and help the verses, because he’s so conservative emotionally

Casey - real under dog
-nice voice, has more nuance and emotion in his voice than Lee
-suffers guilt from taking off his shirt to get on the show, just happy to be here attitude doesn’t get the job done
-it’s not about the hair BUT it could be….
My Break Out Performance Coaching for Casey:
-work the hair, open your shirt…will get votes BUT more importantly will free him up vocally and persona-wise and help him channel his inner rock star because it’s there

“…Ah I went through some stuff um and I got very ah depressed at times you know it was like a mmmarriage breaking up (snaps fingers) suddenly violently quickly and I was just trying to figure out what happened…”

My Analysis: Conan’s voice sounds tired, worn out, sleepy until he says the word “marriage” and then his voice wakes up. He lingers on the “m” of marriage like so: “mmmarriage” — this indicates the word “marriage” clearly resonates for him. His voice continues to be resonant on “breaking up,” he even snaps his fingers to illustrate this sudden “breaking up.” What’s noteworthy is the the order of the words “suddenly violently quickly.” Sandwiched between the words “suddenly” and “quickly” which both basically mean the same thing is the word “violently.” He deals with the violent nature of what he perceived happened to him by keeping it tucked away in suddenly/quickly. This is highlighted by his voice immediately going sleepy again on “trying to figure out what happened” and especially on the word “happened” there’s sadness. Conan still has not fully come to terms with the events.

David Letterman on “Regis and Kelley”

“…Well I- I don’t know if people know about this but I’ve had some trouble and ah y-y-y-you know w- when when something ah like this happens and ah and and mostly it was ah r -r-reckless behavior on my part and if you behave recklessly ah and it hurts y-your family well then of course it hurts you…”

My Analysis: Starting with humor is where Letterman’s comfortable, gets his laugh but then he’s far from comfortable here. Aside from speaking w/ many filler words like ahs and stutters — all these denoting a lack of confidence, Letterman uses the word “mostly” (mostly reckless behavior on my part) and “if” (if you behave recklessly) — shows a lack of ownership. Also he speaks in the 3rd person…this keeps him removed as opposed to speaking in first person: “I behaved recklessly and it hurt my family.” He stutters on r-r-reckless — which says he lacks a strong point of view on what being reckless means to him — and his language highlights this point: “if you behave recklessly and it hurts your family…it hurts you.” In coaching Letterman, I’d ask him to contemplate if his reckless behavior did not hurt his family then would he still regard it as reckless? His voice and language indicate he’s unresolved.

My Analysis:
Tito’s voice quivers and is emotional but the emotion is NOT strangling the voice and it’s not keeping him from communicating. Tito’s voice here retains it’s resonance which reflects that Tito is happy. His inflection is full and connected on the words “trainer,” “world,” “fans,” “family,” and “parents,” - as opposed to his inflection on “Jenna will be okay” which is flat and disconnected. The latter denotes separation, denial and/or he’s moved on.

Joan Rivers on A&E
“Barry didn’t like Edgar, Edgar didn’t like Barry and they called me into an office on a Thursday afternoon and they said you can stay but your husband goes and I had to make the choice of staying and running the show and well your husband’s not allowed on the Fox lot or leave you with my husband and I said I will leave with my husband.”

My Analysis:
The emotion strangles her voice which makes it hard for Joan to say the words “you can stay” and especially on the word “stay,” her tone reflects unresolved pain as opposed to the word “goes” on “your husband goes,” there’s virtually no pain. On “I had to make the choice” there’s the pain again and then no pain, Joan actually slurring the words “your husband’s not allowed on the Fox lot,” which says she’s over it, not important. What’s noteworthy here is, as she’s recounting the story, instead of saying the powers that be told her “you leave with your husband,” Joan says here “leave you with my husband.” Reflects Joan saw and/or still sees herself as independent from others.

Pamela Anderson on the phone w/ KEARTH 101’s Gary Bryan
Gary Bryan: When he (Larry King) said the word underwear, did you hear him smacking his lips?
Pam Anderson: NO…
Gary Bryan: He did I’m telling you
Pam Anderson: I prefer panties to underwear anyway that’s such a terrible word underwear, that’s not sexy.

My Analysis:
Pamela’s voice on “No” was explosive, not controlled which here denotes real surprise. But a second later her voice doesn’t stay in the surprise, Pamela’s voice drops in tone which says she was uncomfortable. This is highlighted on “I prefer panties to underwear” where she goes to a safe place in rehearsed sound bite fashion. Also. because this was a phone interview, it was easier for Pamela to escape.

Oprah’s voice is in her throat, strained, tired, not as guarded….the plural on the word daddy is interesting — there’s been only one biological father reported to have written Oprah and asked her to submit her DNA — Oprah saying daddy with a plural embellishes the truth, removes it and her from a reality — a coping mechanism — also the use of the word “daddies” vs. “fathers” — daddies is playful, not as serious…she also adopts a character voice as she does a new daddy voice on “Hello daughter” but the language is credible Hello vs Hey, daughter vs. child or girl…also what’s interesting is as Oprah is having fun with her new daddy voice her pronunciation of the word “roof” is telling — very Scooby Doo — in order to say it like that you’ve got to be aggressive.

“Last week was a rough week for Gayle [King] when a so-called biography came out. Every day, she’s getting herself more and more worked up about all of my new daddies that are now showing up. New daddies saying, ‘Hello daughter, call me, I need a new roof…”

Analysis of Larry King interviewing Pamela Anderson (see transcript below):

Larry smacks his lips, with the words underwear and nipple — great example of the human voice reflecting one’s life condition. larry is hungry. What’s noteworthy here is Larry smacks his lips always after, not before, but after he says the word “underwear” which indicates a reaction to an image he’s had, like an afterthought — but with “nipple” he smacks his lips before which means he’s in the present….there’s anticipation.

KING: That you say “Dancing with the Stars” producers had to talk to you about wearing underwear while you dance. (smacks his lips)
ANDERSON: No, just — they followed me around with little nipple covers.
KING: (Smacks his lips) Nipple covers.
ANDERSON: That’s it, yes. Yes. There’s nothing else.
KING: But you wear underwear, right? (smack his lips)
ANDERSON: Yes. Yes, of course.
KING: Did you offer not to wear underwear? (smacks his lips)

Text of George Lopez with Chris Rock and my analysis:

George Lopez: …Conan coming to TBS
Rock: Conan’s coming
George: Yes
Rock: And where you going?
George: I’m going, I’m staying I’m going to midnight…I get to go to work an hour later, that’s a Latino dream come true, an hour later

Interesting when Chris asks George “and where you going?” George starts to answer with “I’m going” but corrects himself with “I’m staying” and he puts more energy behind the word “staying” as opposed to “going” — his voice reflects, beyond the bit he’s rehearsed with Chris, that staying is important…also George gets his laugh on “I get to go to work an hour later, that’s a Latino dream come true,” but then he repeats the words “an hour later” — got the laugh, no need to repeat the words — reflects insecurity and more to the point, highlights that the concept of “an hour later” is working his nerve.

“…the girl (girl, not woman) with eight kiiiids (whines, labor, lifting)…who (3rd person) had this reality show everybody knows who she (3rd person) is…and she (3rd person) tows (labor, also implies she sees the paparazzi as part of her) around the paparazzi…”

Tiger to himself after a regrettable shot this week: “Tiger Woods, you ssssssssuck…”

Tiger referring to himself in the third person creates distance between “I” and “he.” So if you have an exaggerated view of how great you are, you could be using this distance to make yourself even bigger. Tiger here is pumping himself up, self-coaching OR this could be his father’s voice manifesting itself. Taking into consideration Tiger’s Nike commercial running right now and his multiple affairs being made public, the latter is interesting.
I’d not refer to this as an “outburst” as reported by the media. There’s restraint in Tiger’s voice when he says “Tiger Woods” and the elongated s on “sssssssssssuck” highlights restraint, not wanting to let himself go.

Michelle “Bombshell” McGee on Australian TV apologizes to Sandra Bullock with: “…I’d say Sandra you know I’m sorry I’m sorry for your embarrassment I’m sorry all this is public….I feel bad for Sandra you know I know what she’s going through she must be hurt devastated upset embarrassed…”

McGee’s voice is the stunning opposite of her physical appearance and “Bombshell” persona. Her soft-spoken inflection here denotes a gentility, sincerity and also a shyness. She speaks to Sandra directly, speaks in the first person which says “I, Michelle, am taking responsibility.” She uses the word “sorry” 3 times — this is a good apology because besides actually saying “I’m sorry,” McGee uses the word “feel” which goes to something deeper. But then her voice becomes a bit detached and she loses whom she was just speaking to (Sandra) on “I know what she’s going through” and it is as clear as day. McGee is now speaking about herself with the words ‘hurt,” “devastated,” “upset” and “embarrassed.” Also her slight speech impediment (lisp), which is endearing but probably not to her, might account for her compensating with all the tattoos. She uses a form of the word “embarrass” twice which is how someone with a lisp might feel. The irony is that she speaks real quickly which says she trying to hide yet she’s on TV. And that is her struggle — the inner shy girl with a lisp vs. the outer shell or should I say Bombshell? McGee having a lisp is interesting because Sandra recently spoke publicly about having a lisp herself as a 12 year old.