My voice analysis of Oprah at luncheon at Waldorf this week (see text below):
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.
April 21st, 2010
Kate Gosselin spoke to a reporter (transcript below) on the prospect of dating in the 3rd person while referring to herself as a “girl” not a woman. Speaking in the 3rd person here is symptomatic of having achieved big success suddenly with her TV show, becoming a tabloid queen, her press appearances and now DWTS. Kate using the 3rd person helps her adjust to the role that’s been assigned to her and the one she’s created for herself. Kate referring to herself as “she” is her way of enlarging herself to fit the role(s). Kate calling herself a “girl” and her general edgy vocal tone are signs that she doesn’t feel she’s arrived, hasn’t carved out a life for herself. She also uses the word “tows” which is doubly significant because of the way she pronounced the word “kids” - you can hear her lifting the children as she stretched out the word — this all says this is someone that feels overwhelmed. However, she enjoy aspects of her life. “Tows around the paparazzi” implies entourage vs. something not friendly.
“…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.
April 15th, 2010
Our Voices are ourselves, the mirror of one’s life condition.
Take Buzz Aldrin on DWTS this week. Like the 80 year old man himself, his voice was vibrant, resonant with his inflection possessing variety and his language expressive. “I gave up my moon boots for dancing shoes so I could motivate a lot of rocket hero’s community… inspire them about what we did in the past and now I’m looking forward to the future.”
Tiger Woods’ voice and speech on ESPN in his first interview since the November 27, 09 incident were less guarded than his recent February 19th press conference which is a reflection of the treatment and personal inventory he has taken. The 20th of 21 questions was on why he got married. Woods answered without hesitation with “Why? Because I loved her. I loved Elin with everything I have.” The passion in which he said the first “loved” was evident as was the speed and clarity in which spoke. However, the mixing of past and present tense here — loved vs. have — is what’s noteworthy. When telling a story from the past, many people tend to tell it in the present tense. “I was at the Dodger game and the vendor comes up to me and he says…” — speaking of the past in the present tense brings the teller, the hero of the story, closer to the facts and the feeling he or she is trying to convey. Here Tiger is present to love. He doesn’t have to think about it — it’s there in his voice, no manipulation.
Rod Blagojevich’s vocal inflection and cadence on the street during last Sunday’s Celebrity Apprentice didn’t change one iota whether talking to camera, responding to a male on the street that hurled a “you’re a disgrace” at him, or greeting yet another passerby. Blogojevich’s voice was robotic while his language and lack of energy behind his words showed a tightness and a weakness. “No none of that’s true. It’s all baloney…no no no…” – the use of many “no’s” indicates that he wants the bad to just go away and shows a lack of ownership and verbal skills to defend himself. Or does he think he’s indefensible? Also the use of the word “baloney” and the pronunciation of it are interesting. The “b” was hit soft. Yet in another scene, while talking on the phone to someone he knew, he let it rip, bleeps and all.
March 25th, 2010
ATTENTION: YOUR VOICE SAYS IT ALL
CNN’S TED ROWLANDS TO SIKES: “Someone who’s a bit skeptical might say, oh, that guy in California is probably going to try to sue Toyota or is just looking for attention — what’s the reality here?”
Here’s the reality. Mr. Sikes does not respond to the question but stays with “attention” and speaks in thematic language highlighting the notion of attention. Also, in the following I’ve indicated what is noteworthy beyond the attention theme.
JAMES SIKES: “No, there’s no attention (highlights ATTENTION). In fact, I can’t believe the number of calls we’ve gotten (ATTENTION language) and we’re just trying not to answer the phone (ATTENTION again). You know, I’ve only talked to a couple of people (ATTENTION). I’m not asking for money from anybody (His voice had a surge of energy here combined with agitation indicating that he wanted to make a point of this as well as the subject of money hits a nerve). I’m just telling the story (use of the word “story” is interesting here vs. “facts,” “truth” et al). You know, we don’t need the fame (big ATTENTION) from this.”
March 18th, 2010
Rielle on why she was hired: “…definitely believe I was hired because I’m not interested in politics…” (laughs) Her laugh here is assured, indicates she celebrates her non-interest in the world she’s about to document. What’s noteworthy is she’s hired to document John Edward’s run for President and she takes the job even though she finds politics a “…gross environment,” a place where “…things aren’t always as they seem.”
Rielle on documentary: “…so I came up with this idea to help him…” Help him what? The word “help” implies manipulation and goes against the very nature of a documentary which is to present the facts about the person and event without personal feelings or interpretation. Notable bites here are: “…it was a documentary series…” — her inflection goes higher on the word “series” like she’s asking a question. On “…wanted to show the many sides of John Edwards,” her voice drops low on “John Edwards,” lacking energy and void of a positive tone. As on the previously mentioned word “series,” her inflection asks a question again on the word “humanity” when she says “…actually show his humanity” as if to say his humanity is in question. Her animal-like pronunciation of the word “access” on “…give the viewer access in…” highlights her passion for that very thing — gaining or having access.
Rielle on meeting John E: During “…meeting John Edwards was interesting because in person when you when I met him..” she does split second recover from “when you” to “when I,” which indicates her desire to have an identity in the story vs. the “documentary-eye” the objective art form calls for.
March 18th, 2010
Oscar speeches are looking up. This year, many were heartfelt and to the point but there was one that had and will continue to have an impact beyond the moment itself. Michael Giacchino, winner of best original score for “Up,” delivered the best Oscar acceptance speech Sunday night:
Thank you, guys. When I was… I was nine and I asked my dad, “Can I have your movie camera? That old, wind-up 8 millimeter camera that was in your drawer?” And he goes, “Sure, take it.” And I took it and I started making movies with it and I started being as creative as I could, and never once in my life did my parents ever say, “What you’re doing is a waste of time.” Never. And I grew up, I had teachers, I had colleagues, I had people that I worked with all through my life who always told me what you’re doing is not a waste of time. So that was normal to me that it was OK to do that. I know there are kids out there that don’t have that support system so if you’re out there and you’re listening, listen to me: If you want to be creative, get out there and do it. It’s not a waste of time. Do it. OK? Thank you. Thank you.
I posted this in January/2010:
Why do so many performers fail to embrace and prepare an “acceptance speech” both in text and delivery? In public and behind closed doors, nominees say they don’t want to jinx themselves…please. If they had employed that lack of preparedness in their work, they wouldn’t have gotten nominated to begin with, so we do know they’ll throw down when it counts. Why don’t performers see their acceptance speech as a moment that counts? I propose one has to be more than just OK with receiving adulation. And the key distinction here is being OK with receiving the honor in public. In private, all feel and admit to feeling they deserve it, want it and hope for it. Yet, as that dream moment approaches, they un-create that very possibility. Very few can wing it and seize the moment of a win but those that can and do — with elegance and humor — do so because they are more than OK with “acceptance.” The road to finding one’s way with this acceptance is paved with preparedness. Like with anything, practicing out loud makes all the difference. And not just in private. You master acceptance with the practice of sharing your prepared and re-worked point of view with others. Then and only then can you stand for yourself, inspire millions and bask in the glow of a win.
Well done Mr. Giacchino.
March 9th, 2010
Our voices are ourselves. The voice is a reflection of one’s life condition. What does your voice say about you? WHAT DO YOU WANT YOUR VOICE TO SAY ABOUT YOU? The answers, though maybe not apparent in your voice at this moment, can be achieved with voice work. Voice work unearths that which IS and polishes. “IS” is an important distinction here. As your teacher, I don’t have your voice. I’ve very specific keys to unlock that which is but you already have your voice. Think of the voice — your voice — not as separate from you the speaker, the singer but the voice AS you. And you are many things. You’ve many impulses. That’s your gift, your humanity. With voice work, the voice learns on its own that it can handle ALL your wonderful, powerful impulses. Think of your undeveloped voice like a lump of clay. Now picture that same lump of clay that’s been stretched and stretched and stretched that now it appears like a string on a cello or violin. When throwing any impulse at a lump of clay, there’s only so much potential for sound that can make an impact. Throwing those same impulses at a string on an instrument, well now the sounds that are possible are infinitely more resonant, desirable, compelling — more you.
March 3rd, 2010
Lee DeWyze, Alex Lambert, Andrew Garcia and Casey James are the interesting voices of the Top 12 on American Idol. Alex’s nerves wouldn’t strangle him if he put his body into the performance. “Body talk” will free up the voice and cause a more authentic vocal. Lee needs to work on his pitch when he’s holding notes. How you do this is to imagine your actually “lifting” the note with your hand. Andrew should sing a half-step down from where he’s used to singing. This will give him a little room to play without worrying about what he sounds like. He’s listening to himself right now and that’s why the performance felt flat. Like Andrew, Casey should have brought the key down a bit. This would allow him attack his vocals without being “maxed-out” up top. There’s a subtle strained feeling to his upper range vocals in the higher key that prevents him from focusing on telling the story with passion. These four men have voices that would record nicely. Andrew Garcia has Idol potential.
February 25th, 2010
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