1954]]

Singing is the act of producing musical sounds with the voice, and augments regular speech by the use of both tonality and rhythm. A person who sings is called a singer or vocalist. Singers perform music known as songs that can either be sung a cappella (without accompaniment) or accompanied by musicians and instruments ranging from a single instrumentalist to a full symphony orchestra or big band. Singing is often done in a group of other musicians, such as in a choir of singers with different voice ranges, or in an ensemble with instrumentalists, such as a rock group or baroque ensemble. Nearly anyone who can speak can sing, since in many respects singing is a form of sustained speech.

Singing can be informal and done for pleasure; for example, singing in the shower or karaoke; or it can be very formal, as in the case of singing during a religious ritual such as a Mass or professional singing typically done on stage or in a recording studio. Singing at a high amateur or professional level usually requires instruction, and regular practice. Professional singers usually build their careers around one specific musical genre, such as Classical or rock, and they typically take voice training provided by a voice teacher or vocal coach throughout their career.

The human voice

or cords.]] In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply, or bellows; on the larynx, which acts as a reed or vibrator; on the chest and head cavities, which have the function of an amplifier, as the tube in a wind instrument; and on the tongue, which together with the palate, teeth, and lips articulate and impose consonants and vowels on the amplified sound. Though these four mechanisms function independently, they are nevertheless coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by the abdominal, internal intercostal and lower pelvic muscles. Inhalation is aided by use of external intercostals, scalenes and sternocleidomastoid muscles. The pitch is altered with the vocal cords. With the lips closed, this is called humming.

The sound of each individual's singing voice is entirely unique not only because of the actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body. Humans have vocal folds which can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect the sound produced by an individual.

Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant; which has been shown to match particularly well to the most sensitive part of the ear's frequency range.

Vocal registration

Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds. The term "register" can be somewhat confusing as it encompasses several aspects of the human voice. The term register can be used to refer to any of the following:

A particular part of the vocal range such as the upper, middle, or lower registers.

A resonance area such as chest voice or head voice.

A phonatory process (phonation is the process of producing vocal sound by the vibration of the vocal folds that is in turn modified by the resonance of the vocal tract)

A certain vocal timbre or vocal "colour"

A region of the voice which is defined or delimited by vocal breaks.

In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, and the whistle register. This view is also adopted by many vocal pedagogists.

Chest voice and head voice

Chest voice and head voice are terms used within vocal music. The use of these terms varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regards to these terms. Chest voice can be used in relation to a particular part of the vocal range or type of vocal register; a vocal resonance area; or a specific vocal timbre. The terms were later adopted within bel canto, the Italian opera singing method, where chest voice was identified as the lowest and head voice the highest of three vocal registers: the chest, passagio and head registers.

However as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists, such as Ralph Appelman at Indiana University and William Vennard at the University of Southern California, have redefined or even abandoned the use of the terms chest voice and head voice. However, the use of overly strong chest voice in the higher registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration.

Classifying singing voices

In European classical music and opera, voices are treated like musical instruments. Composers who write vocal music must have an understanding of the skills, talents, and vocal properties of singers. Voice classification is the process by which human singing voices are evaluated and are thereby designated into voice types. These qualities include but are not limited to: vocal range, vocal weight, vocal tessitura, vocal timbre, and vocal transition points such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal registration. The science behind voice classification developed within European classical music has been slow in adapting to more modern forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. There are currently several different systems in use within classical music including: the German Fach system and the choral music system among many others. No system is universally applied or accepted.

However, most classical music systems acknowledge seven different major voice categories. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass. When considering voices of pre-pubescent children an eighth term, treble, can be applied. Within each of these major categories there are several sub-categories that identify specific vocal qualities like coloratura facility and vocal weight to differentiate between voices.

Within contemporary forms of music (sometimes referred to as Contemporary Commercial Music), singers are classified by the style of music they sing, such as jazz, pop, blues, soul, country, folk, and rock styles. There is currently no authoritative voice classification system within non-classical music. Attempts have been made to adopt classical voice type terms to other forms of singing but such attempts have been met with controversy. The development of voice categorizations were made with the understanding that the singer would be using classical vocal technique within a specified range using unamplified (no microphones) vocal production. Since contemporary musicians use different vocal techniques, microphones, and are not forced to fit into a specific vocal role, applying such terms as soprano, tenor, baritone, etc. can be misleading or even inaccurate.

Vocal pedagogy

: Concert, c. 1490]] Vocal pedagogy is the study of the teaching of singing. The art and science of vocal pedagogy has a long history that began in Ancient Greece and continues to develop and change today. Professions that practice the art and science of vocal pedagogy include vocal coaches, choral directors, vocal music educators, opera directors, and other teachers of singing.

Vocal pedagogy concepts are a part of developing proper vocal technique. Typical areas of study include the following:

Human anatomy and physiology as it relates to the physical process of singing

*Vocal health and voice disorders related to singing

*Breathing and air support for singing

*Phonation

* Vocal resonation or Voice projection

*Vocal registration: a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality, which originate in laryngeal function, because each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.

* Voice classification

Vocal styles: for Classical singers, this includes styles ranging from Lieder to opera; for pop singers, styles can include "belted out" a blues ballads; for jazz singers, styles can include Swing ballads and scatting.

* Techniques used in styles such as sostenuto and legato, range extension, tone quality, vibrato, and coloratura

Vocal technique

Singing when done with proper vocal technique is an integrated and coordinated act that effectively coordinates the physical processes of singing. There are four physical processes involved in producing vocal sound: respiration, phonation, resonation, and articulation. These processes occur in the following sequence: #Breath is taken #Sound is initiated in the larynx #The vocal resonators receive the sound and influence it #The articulators shape the sound into recognizable units Although these four processes are often considered separately when studied, in actual practice they merge into one coordinated function. With an effective singer or speaker, one should rarely be reminded of the process involved as their mind and body are so coordinated that one only perceives the resulting unified function. Many vocal problems result from a lack of coordination within this process.

Since singing is a coordinated act, it is difficult to discuss any of the individual technical areas and processes without relating them to the others. For example, phonation only comes into perspective when it is connected with respiration; the articulators affect resonance; the resonators affect the vocal folds; the vocal folds affect breath control; and so forth. Vocal problems are often a result of a breakdown in one part of this coordinated process which causes voice teachers to frequently focus in intensively on one area of the process with their student until that issue is resolved. However, some areas of the art of singing are so much the result of coordinated functions that it is hard to discuss them under a traditional heading like phonation, resonation, articulation, or respiration.

Once the voice student has become aware of the physical processes that make up the act of singing and of how those processes function, the student begins the task of trying to coordinate them. Inevitably, students and teachers will become more concerned with one area of the technique than another. The various processes may progress at different rates, with a resulting imbalance or lack of coordination. The areas of vocal technique which seem to depend most strongly on the student's ability to coordinate various functions are:

Vibrato

Vibrato is used by singers (and many instrumentalists; for instance, string instruments that are played with a bow can produce vibrato tones) in which a sustained note wavers very quickly and consistently between a higher and a lower pitch, giving the note a slight quaver. Vibrato is the pulse or wave in a sustained tone. Vibrato occurs naturally, and is the result of proper breath support and a relaxed vocal apparatus. Some singers use vibrato as a means of expression. Many successful artists have built a career on deep, rich vibrato.

Vocal music

Vocal music is music performed by one or more singers, with or without instrumental accompaniment, in which singing provides the main focus of the piece. Vocal music is probably the oldest form of music, since it does not require any instrument besides the human voice. All musical cultures have some form of vocal music and there are many long standing singing traditions throughout the world's cultures.

Music which employs singing but does not feature it prominently is generally considered as instrumental music. For example, some blues rock songs may have a simple call-and-response chorus, but the emphasis in the song is on the instrumental melodies and improvisation. Vocal music typically features sung words called lyrics, although there are notable examples of vocal music that are performed using non-linguistic syllables or noises, sometimes as musical onomatopoeia. A short piece of vocal music with lyrics is broadly termed a song.

Genres of vocal music

Ian Gillan performing live with Deep Purple in 2006.]] Vocal music is written in many different forms and styles which are often labeled within a particular genre of music. These genres include: Art music, Popular music, Traditional music, regional and national music, and fusions of those genres. Within these larger genres are many sub-genres. For example, popular music would encompass blues, jazz, country music, easy listening, hip hop, rock music, and several other genres. There may also be a sub-genre within a sub-genre such as vocalese and scat singing in jazz.

Popular and traditional music

In many modern pop musical groups, a lead singer performs the primary vocals or melody of a song, as opposed to a backing singer who sings backup vocals or the harmony of a song. Backing vocalists sing some, but usually not all, parts of the song often singing only in a song's refrain or humming in the background. An exception is five-part gospel a cappella music, where the lead is the highest of the five voices and sings a descant, and not the melody. Some artists may sing both the lead and backing vocals on audio recordings by overlapping recorded vocal tracks.

Popular music includes a range of vocal styles. Hip-hop uses rapping, the rhythmic delivery of rhymes in a rhythmic speech over a beat or without accompaniment. Some types of rapping consist mostly or entirely of speech and chanting, like the Jamaican "toasting". In some types of rapping, the performers may interpolate short sung or half-sung passages. Blues singing is based on the use of the blue notes–notes sung at a slightly lower pitch than that of the major scale for expressive purposes. In heavy metal and hardcore punk subgenres, vocal styles can include techniques such as screams, shouts, and unusual sounds such as the "death growl".

performs in Las Vegas.]]

One difference between live performances in the popular and Classical genres is that whereas Classical performers often sing without amplification in small- to mid-size halls, in popular music, a microphone and PA system (amplifier and speakers) are used in almost all performance venues, even a small coffee house. The use of the microphone has had several impacts on popular music. For one, it facilitated the development of intimate, expressive singing styles such as "crooning" which would not have enough projection and volume if done without a microphone. As well, pop singers who use microphones can do a range of other vocal styles that would not project without amplification, such as making whispering sounds, humming, and mixing half-sung and sung tones. As well, some performers use the microphone's response patterns to create effects, such as bringing the mic very close to the mouth to get an enhanced bass response, or, in the case of hip-hop beatboxers, doing plosive "p" and "b" sounds into the mic to create percussive effects.

While some bands use backup singers who only sing when they are onstage, it is common for backup singers in popular music to have other roles. In many rock and metal bands, the musicians doing backup vocals also play instruments, such as rhythm guitar, electric bass, or drums. In Latin or Afro-Cuban groups, backup singers may play percussion instruments or shakers while singing. In some pop and hip-hop groups and in musical theater, the backup singers may be required to perform elaborately choreographed dance routines while they sing through headset microphones.

Careers in singing

The salaries and working conditions for vocalists vary a great deal. While jobs in other music fields such as music education tend to be based on full-time, salaried positions, singing jobs tend to be based on contracts for individual shows or performances, or for a sequence of shows (e.g., a two-week series of performances of an opera or musical theater show). Since income from singing jobs can be unsteady, singers often supplement their performing income with other singing-related jobs, such as vocal coaching, voice lessons, or as working as a choral director in a church. Due to the large number of aspiring vocalists, it can be very competitive to get jobs in singing. Church choir soloists can make from $30 to $500 per performance (all figures in US dollars). Performers in a community choral group can earn from $200–$3,000 yearly; members of a professional concert choral group can make $80 and up per performance. Singers who perform on radio or TV shows can make $75 and up per show on a local station and $125 and up per national network show (e.g., CBS or NBC). Jazz or pop singers who perform with dance bands or nightclub show groups can make $225 and up per week. Professional opera chorus singers can make from $350–$750 per week. Opera soloists, for which the number of job openings is very limited, can make from $350 to $20,000 per performance for the most elite performers. Classical concert soloists, for which the number of job openings is very limited, have approximate earnings of $350 per performance and up.

Aspiring singers and vocalists must have musical talent and skill, an excellent voice, the ability to work with people, and a sense of showmanship and drama. Additionally, singers need to have the ambition and drive to continually study and improve, However, one much older study of lung capacity compared those with professional vocal training to those without, and failed to back up the claims of increased lung capacity. Singing may positively influence the immune system through the reduction of stress. One study found that both singing and listening to choral music reduces the level of stress hormones and increases immune function. A multinational collaboration to study the connection between singing and health was established in 2009, called Advancing Interdisciplinary Research in Singing (AIRS).

Singing in non-human species

Scholars agree that singing is strongly present in many non-human species. Wide dispersal of singing behavior among very different animal species (like birds, gibbons, whales, and humans) strongly suggests that singing appeared independently in different species. Currently there are about 5400 species of animals that can sing. At least some singing species demonstrate the ability to learn their songs, to improvise and even to compose new melodies. In some animal species singing is a group activity (see, for example, singing in gibbon families), although humans are the only singing species which has the sense of rhythm and can be rhythmically precisely united.

Singing in different natural environments

Joseph Jordania suggested that singing behavior is very unevenly distributed among animal species, living in different environments (on the ground, in the water, in trees). Most of the singing species live on the trees (like many bird species, or gibbons), some live in the water (whales, dolphins, seals, sea lions), and there are no animal species who live on the ground and sing except for humans. This uneven distribution of singing can be crucial for our understanding of the origins of the singing behavior in animals and humans. Jordania explains this fact as the result of the pressure from natural selection. Singing is a very costly behavior, not only because of the energy to produce sounds, but primarily for the security reasons, as all the possible predators can easily learn the whereabouts of a singing animal. Singing species that live on the trees are in a much more favourable situation, as trees allow different species to live according to their body weight. So different animals with different body weight live on different "levels" of the tree branches. For example, a 50 kilo leopard can see and hear the sounds produced by a 15 kilo monkey, but as a lighter monkey can live much higher on the tree branches, it is out of reach of a heavier leopard. Therefore tree living (or arboreal) species feel quite secure to sing or to communicate with a wide range of vocal signals. On the other hand, all the ground living (or terrestrial) animal species, despite the huge weight differences between them (ranging from rabbits to lions and elephants) live on the same "ground level", and maintaining silence is crucially important for them. Even most of the birds, the most ardent singers, stop singing and producing other sounds when they sit on the ground. Therefore, predator threat might be a primary reason why tree living species are generally much noisier than ground living species.

See also: art music

A cappella

Aria

Bel canto

Chanson

Chiaroscuro (music)

Choral music

Fach

Group singing

Human voice

Opera

Overtone singing

Recitative

Singer–songwriter

Sprechgesang

Throat singing

Voice pedagogy

Voice projection

Voice type

Yodeling

Winsingad

See also: popular music

Beat boxing

Belt (music)

Death growl

Humming

Lead vocalist

Rapping

Screaming (music)

Vocoder

References

External links

A Brief History of Singing

Category:Occupations in music *

Name	Wisin & Yandel
Background	group_or_band
Born	December 19, 1978 (Wisin)January 14, 1977 (Yandel)
Origin	Cayey, Puerto Rico
Genre	Reggaeton, R&B;, Electropop, Latin pop
Years active	1998 – presente
Label	WY, Machete
Url	WisinYandelPR.com
Current members	Juan Luis Morera Luna (Wisin)Llandel Veguilla Malavé Salazar (Yandel)

Wisin & Yandel are a Puerto Rican reggaeton duo, consisting of Llandel Veguilla Malavé Salazar (Yandel) and Juan Luis Morera Luna (Wisin). They started their career in 2000 and have been together since, winning several awards during that time.

Their biggest hits are "Rakata", "Llamé Pa' Verte (Bailando Sexy)", "Pam Pam", "Sexy Movimiento", "Pegao", "Síguelo", "Abusadora", and "Gracias a Tí". Wisin & Yandel have collaborated with internationally known artists such as R. Kelly on "Burn It Up", Paris Hilton on the reggaeton remix to her debut single "Stars Are Blind", Ja Rule on "Rakata (Remix)", Lenny Kravitz on "Breathe" (a promotional song for Absolut Vodka), Mexican Pop group RBD on "Lento (Remix)", compatriots La Secta AllStar on "Llora Mi Corazón", Fat Joe on "Jangueo", Nelly Furtado on "Sexy Movimiento (Remix)", 50 Cent on "Mujeres In The Club" and "Así Soy" along with G-Unit, Akon on "All Up 2 You" along with Aventura and "Ella Me Llama (Remix)", Enrique Iglésias on "Lloro Por Ti (Remix)" and "Gracias a Tí (Remix)", Gloria Estefan on "No Llores (Remix)", T-Pain on "Imagínate", "Te Siento" and in a remix for Reverse Cowgirl.

Biography

Yandel was born on January 16, 1977 & Wisin was born on December 19, 1978.Wisin married his wife on July 26, 2008, in a ceremony that took place in a restaurant of Cayey, Puerto Rico. Yandel who was the ceremony's best man, is also the godfather of Wisin's daughter.

Artistic careers

On November 7, 2007 the duo published . The album was received positively by the Puerto Rican media, with mainstream newspaper Primera Hora awarding it a score of 4 out of 5. The publication focused their review on the fusion of styles found in the album, claiming that the production continued the "musical evolution" found in its predecessors. Wisin & Yandel participated in the closing ceremonies of the 2008 Viña del Mar Festival. On June 2, 2008, Wisin and Yandel began a tour to promote Wisin vs. Yandel: Los Extraterrestres, Otra Dimensión, visiting several radio stations in Puerto Rico. The duo made a guest appearance in an album titled "Caribbean Connection" released on June 24, 2008. The production included participation by other Latin American artists including Daddy Yankee, Don Omar and Hector "El Father" along Jamaican musicians including Inner Circle, Bounty Killer, Elephant Man and Wayne Wonder. Wisin & Yandel took part in the 2008 edition of New York City's Puerto Rican Day Parade, organized on June 8, 2008. Wisin & Yandel won four awards in the Premios Juventud 2008 ceremony. On July 19, 2008, the duo made a presentation before a sold-out crowd in Venezuela. The duet were selected to perform in "KQ Live Concert" on September 27, 2008, organized by KQ 105 FM, the event included several renowned artists from Puerto Rico and other Latin American locations. On August 12, 2008, the duo received a recognition by Cayey's mayor,Rolando Ortiz Velázquez. In the activity, they were named "Ambassadors from Cayey to the world", in a patronal celebration that was dedicated to the duo. On April 24, 2009, Wisin & Yandel received the Latin Rhythm Album Of The Year, Duo Or Group Latin Billboard Music Award for Los Extraterresres. Besides this recognition, the duo also received nominations for Ahora Es and Síguelo in the Tropical Airplay Song Of The Year, Duo Or Group and Latin Rhythm Airplay Song Of The Year, Duo Or Group categories. On October 15, 2009, Wisin & Yandel won the Premio MTV Latinoamérica for "Artist of the Year" and "Video of the Year".

WY Records

WY Records is a Puerto Rican record label founded by the popular reggaeton duo Wisin & Yandel. WY Records is a record label started by Wisin & Yandel in 2004, which features several artists from the reggaeton genre. The main production center is in San Juan, Puerto Rico.

Artistic appearances

Wisin & Yandel have collaborated with many artists throughout The United States music industry. Throughout genres such as hip hop, pop, latin pop, and R&B;, with artists such as David Bisbal, Gloria Estefan, Bone Thugs-N-Harmony, Nelly Furtado, Fat Joe, Eve, R. Kelly, G-Unit, Enrique Iglesias, T-Pain, Akon, 50 cent, Aventura and Sean Kingston.

Discography

;Studio albums

2000: Los Reyes del Nuevo Milenio

2001: De Nuevos a Viejos

2002: De Otra Manera

2003: Mi Vida... My Life

2005: Pa'l Mundo

2007:

2009: La Revolución

2011:

See also

List of famous Puerto Ricans

References

External links

Official Site

Second Official Site

Wisin & Yandel at MTV

Wisin & Yandel at MTV Tr3́s

Wisin & Yandel at YouTube

Wisin & Yandel at Reggaetonline

Category:Reggaeton musicians Category:Duos Category:Reggaeton duos Category:Puerto Rican male singers Category:Puerto Rican singers Category:Puerto Rican reggaeton artists Category:Latin Grammy Award winners

Name	Tim Conway
Caption	Tim Conway, 2007
Birth name	Thomas Daniel Conway
Birth date	December 15, 1933
Birth place	Willoughby, Ohio, U.S.
Occupation	Actor, writer, director, comedian
Years active	1956–present
Spouse	Mary Anne Dalton (1961–1978)Charlene Fusco (1984–present) Because of this move, which deprived Anderson of his co-host and comic foil, the station asked Anderson if he could host a B-grade (and lower) horror movie show on Friday nights instead. Conway would continue to make many appearances alongside Anderson's massively popular alter ego Ghoulardi, alongside "Big Chuck" Schodowski, a station engineer whom Anderson tapped to assume much of Conway's sidekick status (and who would ultimately succeed Anderson as co-host of the horror movie program).
Name	Conway, Tim
Date of birth	December 15, 1933
Place of birth	Willoughby, Ohio, U.S.

Category:1933 births Category:Living people Category:People from Willoughby, Ohio Category:Actors from Ohio Category:American comedians Category:American film actors Category:American racehorse owners and breeders Category:American television actors Category:American voice actors Category:Best Supporting Actor Golden Globe (television) winners Category:Bowling Green State University alumni Category:Emmy Award winners Category:People from the Greater Los Angeles Area

Morgan Cryar is a Contemporary Christian music vocalist, songwriter, and producer, hailing from Louisiana. He is especially noted for his creative lyric-writing.

Cryar's debut, Keep No Secrets, was released in 1984, and its singles "Holy Fire" and "Carried Away" received moderate airplay on Christian radio; but it was his 1986 album, Fuel on the Fire, featuring the chart-topping contemporary Christian single (also nominated for a Dove Award for best video), "Pray in the U.S.A.," that began his road to success. Collaborating with producer Roy Salmond and composers Ty Tabor and Doug Pinnick (later of Kings X fame) and well-regarded CCM session player, John Andrew Schreiner, Fuel on the Fire contains some "foot-tapping ditties" and "tuneful ballads" that make up Mr. Cryar's vocal performance. In the 1980s, Cryar toured with big names in the CCM industry, such as Petra and DeGarmo and Key, promoting Fuel for the Fire and his 1989 follow up Like A River to receptive high school-and-college-age audiences.

Cryar's level of recognition early on in his career paved the way for his fourth album, Kingdom Upside Down (1990), to reach #27 on the Billboard Christian charts, despite its criticism as a "pleasantly forgettable album," and for its single, "Father," to hit number one on the Christian radio charts. Additionally in the 1990s, he had a #1 Christian radio hit with "If I Never See a Miracle" from 1995's Love Over Gold, and the single, "What Sin?" from the same album had its own moderate success on Christian radio.

References

From 2005 - 2007, Cryar was CEO of Brett Manning's Singing Success, Inc. He currently resides in Nashville, TN with his wife, Melanie, and their seven children.

External links

The Official Website of Morgan Cryar

MySpace.com: Morgan Cryar

CrossRhythms.co.uk: Morgan Cryar Artist Profile & Discography

Brett Manning's Singing Success: Company which Cryar was CEO.

Legacy Learning Systems where Morgan currently works.

Category:American performers of Christian music Category:Christian songwriters Category:Living people

Marisela (born in Los Angeles, California) on April 24, 1966, is a Mexican-American singer.

Known as the 'Latin Madonna', Marisela recorded her first album at the age of 15 in 1984 and continues to release albums into the 21st century.

Career

Marisela's early career was helped immensely by the famous Mexican TV show of Siempre en Domingo by Raúl Velasco and then later expanding into the United States by the help of many other Spanish broadcasting shows such as Cristina, Don Francisco, Sábado Gigante, and many other televised shows famous in the 80's and 90's. Marisela's first record release was titled Sin El a production of Enrique Elizondo and songs from the now well known Marco Antonio Solís who composed all the songs of her first hit album. Thanks to the wonderful song writer/composer and singer Marco Antonio Solis, who is one of Mexico's greatest music artists of all time, her romantic CD was an instant hit. "La Pareja Ideal" a duet between Marisela and Marco Antonio Solis is one of her most memorable songs, being promoted while the two were actually dating.

The romance ended of course because of the love triangle between Marisela, Marco Antonio Solis and Beatriz Adrianna who was also a beautiful rising artist whose album Marco Antonio Solis was promoting.

Marisela is one of very few singers who have managed to survive in the music business only by playing concerts in Mexican venues known as palenques.

In 1987, Marisela recorded a duet with Salvadorian singer named Alvaro Torres on a song called Mi Amor Por Ti (English: My Love For You). The song was released on Torres' 1986 album Tres.

Marisela has continued recording great hit songs like, Completamente Tuya, Enamorada y Herida, Sola con mi Soledad, Ya No, El Chico Aquel, Mi Problema and many more.

In 2007, Marisela released a compilation of greatest hits entitled Noches Eternas with a Mariachi sound to it. She is preparing to release the most waited for production of No Soy Una Mentirosa this year.

Marisela is one of the artists that will always remain a favorite in the hearts of her audience. Now in the heart of a new generation to come that is through their ancestors listening to her songs and becoming fans of her all over again. She is now known as "La Dama de Hierro."

Albums

Noches Eternas (2007)+DVD ( Esta a la venta) es unicamente musica Mariachi)

Ellas Cantan Así (2003)

La Otra (2002)

Historia de un Amor (2000)

Serie 2000 (2000)

En Vivo: Tu Dama De Hierro (1999)

Voz y Sentimiento (1998)

Serie Platino (1996)

Borrón y Cuenta Nueva (1996)

# "Amor en el Olvido" # "Me Olvidare de Ti" # "Borròn y Cuenta Nueva" # "Tú Mi Niña" # "Debo Contar Hasta Diez" # "Que Pensabas" # "Que Manera Tan Estupida de Amar" # "No Vayas a Volver Jamas" # "No Me Vas a Convencer" # "Para Nunca Volver"

Adiós Amor (1992)

Track Listings # "Amame" # "Adios Amor" # "Me Desperte Llorando" # "Te Devuelvo Tu Apellido" # "Amo la Musica" # "Nunca Olvidaré" #"Tonto Corazón" # "Amor Tan Mio" #"Ven Acercate un Poco" # "Si de Mi Te Alejas"

Hablando Claro (1990)

Track Listings # "Y Se Que Vas a Llorar" # "Tu y Yo" # "Cha-Cha" # "Vete de Mi" # "Partir de Hoy" # "Ya Te Olvide" # "Tu Adeudo" # "En Cancun" # "Hablemos Claro" # "Amor de Compra y Venta"

Marisela (1989)

# "Amarte Es Genial" # "Y Voy a Ser Feliz" # "Yo No Te Quiero" # "O Me Quieres O Me Dejas" # "Amame un Poco Más" # "Para Volver a Empezar" # "Ya No Puedo Volver Contigo" # "Ya No" # "Demasiado Tarde" # "Mi Triste Amiga"

Porque Tengo Ganas (1987)

# "Tu Dama De Hierro" # "Porque Tengo Ganas" # "Yo Se Que Tu" # "Quisiera Detener El Tiempo" # "A Escondidas" # "El Fin De Nuestro Amor" # "Hazme Tuya" # "Arrepentida" # "Quedate A Mi Lado" # "Si Alguna Vez"

Completamente Tuya (1985)

# "Sienteme, Amame, Quiereme" # "Asi De Facil" # "Ahora No" # "Enamorada Y Herida" # "Mi Problema" # "Completamente Tuya" # "Muriendo De Amor" # "Amigio Mio, Carino Mio" # "Sola Con Mi Soledad" # "A Cambio De Que"

Sin Él (1984)

# "Ya No Te Vayas" # "Vete Mejor" # "No Puedo Olvidarlo" # "La Pareja Ideal" # "El Chico Aquel" # "Sin El" # "Si No Te Hubieras Ido" # "Prefiero Ir Sola" # "Dios Bendiga Nuestro Amor" # "Vete Con Ella"

References

Category:Year of birth missing (living people) Category:Living people Category:American people of Mexican descent Category:Mexican female singers Category:People from Los Angeles, California