Singing is the act of producing musical sounds with the voice, and augments regular speech by the use of both tonality and rhythm. One who sings is called a singer or vocalist. Singers perform music known as songs that can be sung either with or without accompaniment by musical instruments. 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. As in many respects human song is a form of sustained speech, nearly anyone able to speak can also sing. Singing can be formal or informal, arranged or improvised. It may be done for pleasure, comfort, ritual, education, or profit. Excellence in singing requires time, dedication, instruction, and regular practice. Professional singers usually build their careers around one specific musical genre, such as classical or rock. They typically take voice training provided by voice teachers or vocal coaches throughout their careers.

The human voice[link]

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 (loudness), 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[link]

''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.

Vocal resonation[link]

Vocal resonation is the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation, although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by a singer or speaker is that the end result of resonation is, or should be, to make a better sound. There are seven areas that may be listed as possible vocal resonators. In sequence from the lowest within the body to the highest, these areas are the chest, the tracheal tree, the larynx itself, the pharynx, the oral cavity, the nasal cavity, and the sinuses.

Chest voice and head voice[link]

''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. Head voice can be used in relation to a particular part of the vocal range or type of vocal register or a vocal resonance area.

History and development[link]

The first recorded mention of the terms chest voice and head voice was around the 13th century, when it was distinguished from the "throat voice" (pectoris, guttoris, capitis — at this time it is likely that head voice referred to the falsetto register) by the writers Johannes de Garlandia and Jerome of Moravia. 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. This approach is still taught by some vocal pedagogists today. Another current popular approach that is based on the bel canto model is to divide both men and women's voices into three registers. Men's voices are divided into "chest register", "head register", and "falsetto register" and woman's voices into "chest register", "middle register", and "head register". Such pedagogists teach that the head register is a vocal technique used in singing to describe the resonance felt in the singer's head.

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. In particular, the use of the terms ''chest register'' and ''head register'' have become controversial since vocal registration is more commonly seen today as a product of laryngeal function that is unrelated to the physiology of the chest, lungs, and head. For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the chest or head. They argue that the vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to vocal resonance, not to registers. These vocal pedagogists prefer the terms ''chest voice'' and ''head voice'' over the term register. This view believes that the problems which people identify as register problems are really problems of resonance adjustment. This view is also in alignment with the views of other academic fields that study vocal registration including: speech pathology, phonetics, and linguistics. Although both methods are still in use, current vocal pedagogical practice tends to adopt the newer more scientific view. Also, some vocal pedagogists take ideas from both viewpoints.

The contemporary use of the term chest voice often refers to a specific kind of vocal coloration or vocal timbre. In classical singing, its use is limited entirely to the lower part of the modal register or normal voice. Within other forms of singing, chest voice is often applied throughout the modal register. Chest timbre can add a wonderful array of sounds to a singer's vocal interpretive palette. 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[link]

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.

It should be noted that within choral music, singers' voices are divided solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB, or soprano, alto, tenor, and bass). As a result, the typical choral situation affords many opportunities for misclassification to occur. Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.

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[link]

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[link]

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: : #Extending the vocal range to its maximum potential #Developing consistent vocal production with a consistent tone quality #Developing flexibility and agility #Achieving a balanced vibrato

Developing the singing voice[link]

Singing is a skill that requires highly developed muscle reflexes. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Vocal pedagogists instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing. Vocal exercises have several purposes, including warming up the voice; extending the vocal range; "lining up" the voice horizontally and vertically; and acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to sing wide intervals comfortably, singing trills, singing melismas and correcting vocal faults.

Extending vocal range[link]

An important goal of vocal development is to learn to sing to the natural limits of one's vocal range without any obvious or distracting changes of quality or technique. Vocal pedagogists teach that a singer can only achieve this goal when all of the physical processes involved in singing (such as laryngeal action, breath support, resonance adjustment, and articulatory movement) are effectively working together. Most vocal pedagogists believe in coordinating these processes by (1) establishing good vocal habits in the most comfortable tessitura of the voice, and then (2) slowly expanding the range.

There are three factors that significantly affect the ability to sing higher or lower:

# The ''energy'' factor — "energy" has several connotations. It refers to the total response of the body to the making of sound; to a dynamic relationship between the breathing-in muscles and the breathing-out muscles known as the breath support mechanism; to the amount of breath pressure delivered to the vocal folds and their resistance to that pressure; and to the dynamic level of the sound. # The ''space'' factor — "space" refers to the size of the inside of the mouth and the position of the palate and larynx. Generally speaking, a singer's mouth should be opened wider the higher he or she sings. The internal space or position of the soft palate and larynx can be widened by relaxing the throat. Vocal pedagogists describe this as feeling like the "beginning of a yawn". # The ''depth'' factor — "depth" has two connotations. It refers to the actual physical sensations of depth in the body and vocal mechanism, and to mental concepts of depth that are related to tone quality.

McKinney says, "These three factors can be expressed in three basic rules: (1) As you sing higher, you must use more energy; as you sing lower, you must use less. (2) As you sing higher, you must use more space; as you sing lower, you must use less. (3) As you sing higher, you must use more depth; as you sing lower, you must use less."

Posture[link]

The singing process functions best when certain physical conditions of the body exist. The ability to move air in and out of the body freely and to obtain the needed quantity of air can be seriously affected by the posture of the various parts of the breathing mechanism. A sunken chest position will limit the capacity of the lungs, and a tense abdominal wall will inhibit the downward travel of the diaphragm. Good posture allows the breathing mechanism to fulfill its basic function efficiently without any undue expenditure of energy. Good posture also makes it easier to initiate phonation and to tune the resonators as proper alignment prevents unnecessary tension in the body. Vocal pedagogists have also noted that when singers assume good posture it often provides them with a greater sense of self assurance and poise while performing. Audiences also tend to respond better to singers with good posture. Habitual good posture also ultimately improves the overall health of the body by enabling better blood circulation and preventing fatigue and stress on the body.

There are eight components of the ideal singing posture:

# Feet slightly apart # Legs straight but knees unlocked # Hips facing straight forward # Spine aligned # Abdomen flat # Chest comfortably forward # Shoulders down and back # Head facing straight forward

Breathing and breath support[link]

Natural breathing has three stages: a breathing-in period, a breathing out period, and a resting or recovery period; these stages are not usually consciously controlled. Within singing there are four stages of breathing: a breathing-in period (inhalation); a setting up controls period (suspension);a controlled exhalation period (phonation); and a recovery period.

These stages must be under conscious control by the singer until they become conditioned reflexes. Many singers abandon conscious controls before their reflexes are fully conditioned which ultimately leads to chronic vocal problems.

Vibrato[link]

Vibrato is used by singers 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[link]

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[link]

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[link]

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".

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[link]

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, because the process of studying singing does not end after an initial diploma or degree is finished-even decades after finishing their initial training, professional singers continue to seek out vocal coaching to hone their skills, extend their range, and learn new styles. As well, aspiring singers need to gain specialized skills in the vocal techniques used to interpret songs, learn about the vocal literature from their chosen style of music, and gain skills in choral music techniques, sight singing and memorizing songs, and basic skills at the piano, to aid in learning new songs and in ear training or vocal exercises. In Classical singing and in some other genres, a knowledge of foreign languages such as French, Italian, German, or other languages, is needed. Prior to college or university training, aspiring singers should learn to read music, study basic piano, and gain experience with singing, both in choirs and in solo settings.

College or university degrees are "not always required but the equivalent training is usually necessary". Post-secondary training in singing is available for both Classical and non-Classical singers. In the Classical stream, singing can be studied at conservatories and university music programs; credentials that are available range from diplomas and Bachelor's degrees to Master's degrees and the Doctor of Musical Arts. In popular and jazz styles, college and university degrees are also available, though there are fewer programs.

Once aspiring vocalists have completed their professional training, they must then take steps to market themselves to buyers of vocal talent, by doing auditions in front of an opera director, choirmaster, or conductor. Depending on the style of vocal music that a person has trained in, the "talent buyers" that they seek out may be record company A&R; representatives, opera or musical theater directors, choir directors, nightclub managers, or concert promoters. In addition preparing a resume or CV listing their training and performance experience, singers typically prepare a promotional kit that includes professionally taken photographs (head shots); a CD or DVD with excerpts of vocal performances; and copies of reviews from music critics or journalists. Some singers hire an agent or manager to help them to seek out engagements and other performance opportunities; the agent or manager is often paid by receiving a percentage of the fees that the singer gets from performing onstage.

Health benefits[link]

Scientific studies suggest that singing can have positive effects on people's health. A preliminary study based on self-reported data from a survey of students participating in choral singing found perceived benefits including increased lung capacity, improved mood, stress reduction, as well as perceived social and spiritual benefits. 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 [link]

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.)

Singing in different natural environments [link]

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[link]

Art music[link]

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

Popular music[link]

Beat boxing

Belt (music)

Death growl

Humming

Lead vocalist

Rapping

Screaming (music)

Vocoder

References[link]

External links[link]

A Brief History of Singing

Singing and Health: A systematic mapping and review of non-clinical research

Category:Occupations in music *

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Táta Vega (born Carmen Rosa Vega, October 7, 1951, Queens, New York) is an American vocalist whose career spans theater, film, and a variety of musical genres.

Early life[link]

Born Carmen Rosa Vega in the Queens borough of New York City on October 7, 1951, her father nicknamed her Táta, because that was the first word she uttered as a baby. Her father served in the Air Force and as a result, the family moved frequently. Before she was even a teenager, the family lived in Panama, Puerto Rico, San Antonio, and Colorado Springs, Colorado.

Career[link]

Vega began her professional singing career in 1963. In California (1969–70) she was cast in the Los Angeles production of the Broadway musical ''Hair''.

In 1998, she signed with Quincy Jones’s Qwest Records and released a gospel album, ''Now I See''.

In 2006 Vega signed with Do Rite Records,in which she released a new Gospel album "This Joy" on October 27, 2009.

Personal life[link]

Vega has two daughters, the eldest born in 1968 and Chloe (born February, 1990 in Berkeley, California) who is a Los Angeles celebrity make-up artist and photographer.

Discography[link]

References[link]

External links[link]

All Music Guide

Facebook

Soulwalking - Tata Vega Page

Tata Vega official website

Category:1951 births Category:Living people Category:American Christians Category:American female singers Category:American musicians Category:American Pentecostals Category:American soul musicians Category:Members of the Church of God in Christ Category:Motown artists Category:People from Queens Category:Singers from New York City

name	Toni Braxton
background	solo_singer
birth name	Toni Michelle Braxton
birth date	October 07, 1967
Birth place	Severn, Maryland, United States
genre	R&B;, soul, pop
occupation	Singer-songwriter, record producer, actress
instrument	Vocals, piano
years active	1989–present
label	LaFace, Arista, Blackground, Atlantic
associated acts	The Braxtons, Tamar Braxton, Babyface, Kenny G
website	}}

Toni Michelle Braxton (born October 7, 1967) is an American R&B; singer-songwriter, record producer, and actress. Braxton has won six Grammy Awards, seven American Music Awards, and five Billboard Music Awards and has sold over 60 million records worldwide. She has a contralto vocal type.

Braxton topped the ''Billboard'' 200 with her 1993 self-titled debut album and continued that streak with her second studio album ''Secrets'', which spawned the number-one hits "You're Makin' Me High" and "Un-Break My Heart". Although she had successful albums and singles, Braxton shortly filed for bankruptcy, but then returned with her chart-topping third album, ''The Heat''. In 2009, she returned to the spotlight with "Yesterday", a #12 R&B; hit which serves as the first single off her new album ''Pulse'', released on May 4, 2010, which debuted at #1 on ''Billboard'' R&B; Album Chart. Braxton was involved in the 7th season of the reality show ''Dancing with the Stars''. Her professional partner was Alec Mazo. She was voted off in week five of the competition. It was announced on October 6, 2010 that Braxton once again had filed for bankruptcy. A reality series entitled Braxton Family Values, starring Toni and her sisters, debuted April 12, 2011 on WE tv. WE tv ordered a 13-episode second season of the show after the third episode of the first season. On September 18, 2011, Braxton was inducted into the Georgia Music Hall of Fame.

Early life and education[link]

Braxton was born in Severn, Maryland. Toni's father, Michael Conrad Braxton, was a Methodist clergyman and power company worker, and her mother, Evelyn, a native of South Carolina, was a former opera singer and cosmetologist, as well as a pastor. The Braxton children were raised in a strict religious household. Braxton's first performing experience was singing in her church choir.

Toni and brother Michael Braxton Jr. are the eldest of the siblings, followed by younger sisters Traci, Towanda, Trina, and Tamar.

She attended Bowie State University to obtain a teaching degree but decided to sing professionally after she was discovered by William E. Pettaway Jr., who heard her singing to herself while pumping gas.

Music career[link]

1989–92: ''The Braxtons''[link]

Braxton and her four sisters (Traci, Towanda, Trina, and Tamar) began performing as ''The Braxtons'' in the late 1980s and were signed to Arista Records in 1989. Their first single, "Good Life", was released in 1990. Though the song was not successful, it attracted the attention of Antonio "L.A." Reid and Kenneth "Babyface" Edmonds.

With Braxton's low register sounding similar to that of Anita Baker, Reid and Babyface recruited her to record a demo of "Love Shoulda Brought You Home", a song that they had written for Anita Baker for the soundtrack of Eddie Murphy's film, ''Boomerang''. Baker, who was pregnant at the time, did not record the song but suggested that Braxton record it. Her recording was later included on the soundtrack along with "Give U My Heart", a duet by Braxton and Babyface. Braxton, meanwhile, was signed to Reid and Edmonds' Arista-distributed imprint, LaFace Records, and immediately began recording her solo debut album.

1993–95: ''Toni Braxton''[link]

On July 13, 1993, LaFace Records released Braxton's self-titled debut album, ''Toni Braxton''. The album, which was primarily produced by Reid, Babyface, and Daryl Simmons, peaked at number one on the U.S. ''Billboard'' 200 albums chart. The first single, "Another Sad Love Song", peaked at number seven and number two on the ''Billboard'' Hot 100 and R&B; Singles charts respectively. The album's second single, "Breathe Again" peaked in the top five of both the Hot 100 and R&B; singles charts and no 2 in the UK. More singles from ''Toni Braxton'' were released in 1994, including "You Mean the World to Me", "Seven Whole Days", "I Belong to You", and "How Many Ways".

Braxton's debut album won her several awards, including three Grammy Awards (for Best New Artist and two consecutive awards for Best Female R&B; Vocal Performance in 1994 and 1995). She also won two American Music Awards (for Favorite Soul/R&B; New Artist and Favorite New Adult Contemporary Artist) in 1994 and another one in 1995 (for Favorite Soul/R&B; Album). ''Toni Braxton'' was certified 8x platinum in USA and has sales of over 10 million worldwide.

1996–98: ''Secrets''[link]

In June 1996, Braxton released her second and most successful album, ''Secrets''. Braxton has said about the album: "The motivation for this album was to include a little bit of everything. Our aim was to come up with material that would have a familiar 'feel' to the people who bought the first album without being musically redundant." Along with Babyface, Braxton also worked with R. Kelly, Tony Rich, and David Foster on the album. Braxton was the co-executive producer of the album and co-wrote two of its songs, including the 1997 single "How Could an Angel Break My Heart", which was also later included on ''Diana Princess of Wales Tribute'', a Princess Diana memorial album.

With help from the album's first single, "You're Makin' Me High" (which became Braxton's first number-one hit on the Hot 100 singles chart), the album peaked at number two on the ''Billboard'' 200 albums chart. "You're Makin' Me High" also topped the R&B; singles chart for two weeks and saw similar success in Europe and Asia. The album's second single, "Un-Break My Heart" (written by Diane Warren)—which would later become the singer's signature song —became the biggest hit of her career spending eleven weeks at number one on the Hot 100 and also topping the Hot Dance Singles Sales chart for eleven weeks and the Hot Dance Music/Club Play chart for four weeks as well as reaching no 2 in the UK The song is the second biggest selling single by a female singer in ''Billboard'' history behind Whitney Houston's, "I Will Always Love You". Other singles from the album included the double A-side "I Don't Want To"/"I Love Me Some Him" (which peaked at number one on the Hot Dance Music/Club Play chart) and "How Could an Angel Break My Heart" which featured Kenny G, with whom Braxton later toured. After 92 weeks in the charts, ''Secrets'' is certified 8x platinum, becoming Braxton's second straight 8 million seller. Internationally, ''Secrets'' sold more than 15 million copies, thus cementing Braxton's superstar status.

Braxton topped the ''Billboard'' Year-End Charts as the Top Hot 100 Singles Artist — Female, Top R&B; Artist — Female (singles and albums), Top Hot R&B; Singles Artist — Female, Top Hot Dance Club Play Artist, and Top Hot Adult Contemporary Artist, while "Un-Break My Heart" became the Top Hot Dance Club Play Single and the Top Hot Adult Contemporary Track of the year. She won two Grammy Awards; one for Best Female Pop Vocal Performance and Best Female R&B; Vocal Performance and two American Music Awards for Favorite Female Soul/R&B; Artist and Favorite Soul/R&B; Album.

1999–01: ''The Heat''[link]

In March 2000, LaFace Records released "He Wasn't Man Enough", the first single from Braxton's third studio album, ''The Heat''. By June 2000, the song peaked at number two on the Hot 100 chart. Braxton's music video for "He Wasn't Man Enough", which also featured actress Robin Givens, was nominated for two MTV Video Music Awards including Best Female Video and Best R&B; Video and a ''Billboard'' Music Video Award for Best R&B; Clip of the Year.

''The Heat'' was released on April 25, 2000. Debuting at number two on the ''Billboard'' 200 albums chart with first week sales of 194,448 copies sold, it remained in the top 20 for fifteen consecutive weeks. Braxton again worked with producers Babyface and Foster; also included in the staple were Rodney Jerkins, and new beau musician Keri Lewis. Braxton herself also took a more hands-on approach, co-writing and co-producing a handful of the tracks. "Gimme Some", a track on "The Heat", featured a rap verse from TLC star Lisa "Left-Eye" Lopes.

The albums second single, "Just Be a Man About It", peaked at number 32 on the Hot 100 and number six on the R&B; Charts. The third single, "Spanish Guitar", peaked at number 98 on the Hot 100 and number one on the Hot Dance & Club charts. The fourth single, "Maybe", peaked at 74 on the R&B; charts.

''The Heat'' was certified double platinum in the US with over 3 million copies sold worldwide. In February 2000, Braxton performed alongside Enrique Iglesias and Christina Aguilera during the Super Bowl Halftime show. Braxton topped the ''Billboard'' Year-End Charts as the Top R&B;/Hip-Hop Artist — Female, Top R&B;/Hip-Hop Album Artist — Female, and Top Hot R&B;/Hip-Hop Singles & Tracks Artist — Female. She also received the 2000 Aretha Franklin Award for Entertainer of the Year at the Soul Train Lady of Soul Awards. Braxton also picked up her sixth Grammy Award for "He Wasn't Man Enough" which won the 2001 Grammy Award for Best Female R&B; Vocal Performance and the album was nominated for Best R&B; Album. It won Best R&B;/Soul Album at the 2001 American Music Awards, her third win in a row.

In 2002, while gearing up for the release of her fourth studio album, Braxton discovered she was pregnant with her second child. Knowing that she wouldn't be able to promote the album properly, she unsuccessfully lobbied Arista Records to get the label to postpone its release until after she was to give birth. Arista Records refused and the album was released as planned in November 2002. It received very little promotion from Arista and Braxton herself, due to a complicated pregnancy that confined her to bed rest. Braxton accused the company of being unwilling to compromise and punishing her from not putting her career over family. On the show ''VH1 Inside Out — Family Comes First'', she documented the hardships of being pregnant with her second child at the same time as promoting an album.

2002–04: ''More Than a Woman''[link]

In November 2002, Braxton's fourth studio album ''More Than a Woman'' was released. Opening to an instant commercial disappointment, the album peaked at number 13. The first single, The Neptunes-produced "Hit the Freeway", failed at radio and peaked at number 86 on the Hot 100. The two singles that followed ("A Better Man", "Lies, Lies, Lies") also failed to make a dent and missed the Hot 100 completely. Meanwhile, a promotional vinyl was sent out to DJs for "Give It Back"/"Let Me Show You the Way (Out)".

''More Than A Woman'' was certified gold by RIAA and sold more 800,000 copies worldwide.

Prior to the release of the album, a dispute erupted between Braxton and Irv Gotti when he played a rough cut of "No More Love", a song that he produced for the album that was to be the first single. Disapproving of Gotti broadcasting the unfinished track, Braxton withheld it from being released. The same year, Braxton was further annoyed when Jay-Z used the same sample of 2Pac's "Me And My Girlfriend" that she had already used on her track "Me & My Boyfriend" for his and Beyoncé's "'03 Bonnie & Clyde". Furious, Braxton lashed out in a radio interview, accusing Jay-Z and producer Kanye West of taking money out of her children's college fund.

2003–06: ''Libra''[link]

In April 2003, Braxton abruptly left Arista Records, having been there for fourteen years, and immediately signed with Blackground Records—headed by Barry Hankerson, her manager at the time. The change of scenery, however, did not ultimately help her recording career. As had been the case during her final years at Arista—Braxton's fifth album, and first release on Blackground, ''Libra'' was released with scant promotion and accumulated poor sales.

In April 2005, Braxton's new label, Blackground/Universal, released "Please"—the first single from her fifth album, ''Libra''. The album was originally planned for a June release, but it was pushed back several times and was finally issued on September 27. Unfortunately for Braxton, her troubles with weak album promotion and lack of label commitment weren't over. "Please" peaked at number 36 on ''Billboard'' Hot R&B;/Hip-Hop Songs, while altogether missing the Hot 100. The album lacked promotion by Blackground, causing it to go under the radar of many.

Despite this, ''Libra'' still managed to debut at number four on the ''Billboard'' 200 selling 114,593 copies in the first week. ''Libra'' also peaked at number two on the Top R&B;/Hip-Hop Albums. Although that is strong for an album with little to no promotion, it became yet another commercial disappointment for Braxton. The album's second single, "Trippin' (That's the Way Love Works)" received less airplay and peaked at number 67 on the R&B; chart. The failure was ascribed to the non-video presence of the single and lack of label support. The album was certified gold in late 2005 and has since sold 679,000 copies worldwide.

Braxton, meanwhile, recorded a song with Il Divo titled "The Time of Our Lives". The song was used as the official 2006 FIFA World Cup anthem and was performed at the championship's opening day in Berlin, Germany on June 9. The song was also performed at the closing ceremonies making Braxton and Il Divo the first artists to be asked to perform for the opening and closing ceremonies. The song peaked at number 17 in Germany. As a result Edel Records decided to re-release ''Libra'' in Germany, including a new album cover, artwork, and the new anthem.

Braxton made an appearance on the season finale of ''American Idol 5'' where she performed Elvis Presley's "In the Ghetto" with soon-to-be winner Taylor Hicks.

2006–08: ''Toni Braxton: Revealed''[link]

On May 19, 2006, the Flamingo Hotel and Casino in Las Vegas announced that Braxton would replace Wayne Newton as the casino's new headlining act on August 3, 2006. The show, entitled ''Toni Braxton: Revealed'', was to be performed six nights a week and was scheduled to run through March 2007. Braxton Later confirmed that she was extending her show through August 2007. The show became the first headlining show from an African American performer in Las Vegas to enter the top ten Vegas shows charting. Due to the success of the show, it was reported that Braxton would extend her show through August 2008. The singer subsequently took time off after being hospitalized for chest pains in April 2008. The show was later cancelled, and it was announced that the show was officially shut down in order for the singer to focus on her health.

Braxton has been released from her contract with Blackground after a number of disputes with former manager Barry Hankerson.

On January 12, 2007, Braxton filed a lawsuit in the U.S District Court in Manhattan against Hankerson for $10 million, alleging "fraud, deception and double dealing," in addition to mismanaging her relationship with Arista Records. According to Braxton, Hankerson placed his own personal financial interests ahead of hers by using "double-talk" to compromise the relationship between Braxton and her former recording label, Arista Records, with Hankerson allegedly telling Arista that ''"Braxton no longer wanted to record for Arista"'' and telling Braxton that ''"Arista was not interested in working with her anymore"''. Braxton also accused Hankerson of failing to send her on request copies of accounting statements, lying about deals that he made on her behalf and engaging in a vendetta against her by refusing to provide information to other managers that she sought to employ to manage her career.

The suit was settled with Braxton returning a $375,000 advance to Hankerson—who would also receive a percentage of the sales of her next album—and Hankerson releasing Braxton from her contract with him. The settlement also temporarily limited the companies in which Braxton can sign with.

In early August, various internet websites including TMZ.com and ''In Touch Weekly'' magazine began announcing that Braxton would be appearing on the seventh season of ''Dancing with the Stars''. The full cast of the next season of the show was confirmed on August 25, 2008 on ''Good Morning America'', which confirmed Braxton as a contestant in the season with her partner being Alec Mazo. They were voted off in the fifth week of the competition.

Braxton, Lance Bass, Maurice Greene and Marlee Matlin headlined ''Dancing with the Stars'' winter tour starting in December 2008 and finishing in February 2009.

rowspan="2"	Week #
	style="text-align:center; background:#faf6f6;"|Cha-Cha-Cha/ "Smooth"
	style="text-align:center; background:#faf6f6;"
	2		Rumba/ "I Can't Make You Love Me"		7		8		8		Safe
	3		Viennese Waltz/ "Für Elise"		8		7		7		Safe
	4		Samba/ "De Donde Soy"		7		7		8		Safe
	5		West Coast Swing/ "The Way You Make Me Feel"		7		7		8

2009–10: ''Pulse''[link]

In October 2008, it was announced that Braxton signed to Atlantic Records. In the November 2008 issue of ''Jet'', Braxton discussed her time spent on ''Dancing with the Stars'' as well as dealing with her son's autism. Braxton also talked about being signed to Atlantic Records and the debut of her upcoming single. She added that the complete CD is scheduled to come out in some time in 2009. She also hinted at a cooking show with fellow ''Dancing with the Stars'' competitor, Rocco DiSpirito.

The DJ Frank E produced song "Yesterday" premiered on September 11, 2009 and features Trey Songz. It was released as the lead single from her sixth studio album ''Pulse''. "Yesterday" peaked at #12 on the U.S. ''Billboard'' Hot R&B;/Hip-Hop Songs chart making it her highest chart performance since her 2000 single "Just Be a Man About It", which peaked at #6. The single has been released worldwide on May 3, 2010. In the UK, "Yesterday" became Braxton's first hit single since the release of "Hit the Freeway", peaking at #50 on the UK Singles Chart and at #17 on the UK R&B; Singles Chart. The song also became a moderate hit in Europe, peaking at #20 on the German Singles Chart, at #17 on the Swiss Singles Chart and charting at #50 on the European Hot 100.

On January 29, Braxton's official website posted two new songs from the upcoming album, "Hands Tied" and "Make My Heart". The former peaked at #29 on the Hot R&B;/Hip-Hop Songs, the latter was sent to dance/club radio. She performed ''Make My Heart'' on The Wendy Williams Show. Videos for both songs "Make My Heart" and "Hands Tied" have been shot.

Braxton released her sixth studio album ''Pulse'' on May 4, 2010 in the US and on May 10, 2010 in the UK.

The album debuted at #9 on the US Billboard 200 chart and hit #1 on Billboard's R&B;/Hip-Hop Albums chart, becoming Braxton's fifth US top-ten album. It also achieved moderate chart success around the world. In Canada it debuted at #72 on the Top 100 Albums chart and in the United Kingdom it debuted at #28 on the Top 40 Albums and at #7 on the R&B; Albums chart. It entered at #18 on the German Album Chart. In Switzerland, the album hit #9. ''Pulse'' became Toni's first album to chart inside the European Top 100 Albums since her 2000 album ''The Heat''.

On June 28, Braxton posted a video for ''Woman''.

Toni Braxton was included as part of the "We Are the World 25 for Haiti" remake of the 1985 hit "We Are the World" to help benefit the people of Haiti following the January 12, 2010 magnitude 7.0 MW earthquake in Haiti. The new version of the song was recorded on February 1, 2010. Music legends Quincy Jones and Lionel Richie act as Executive Producers as well as Wyclef Jean. Artists involved included Celine Dion, Barbra Streisand, Janet Jackson, Tony Bennett, Wyclef Jean, Josh Groban, Pink, Usher, Mary J. Blige, Jennifer Hudson, Adam Levine, Justin Bieber, LL Cool J, among others.

2011-present : ''Braxton Family Values'' and ''I Heart You''[link]

In January 2011, WE tv Network confirmed that it had signed Braxton for a reality series, ''Braxton Family Values'', which will be marketed as one of the network's flagship shows. The series debuted April 12, 2011, and looks at the relationship between the singer/songwriter Braxton, her mother, and her four sisters; Trina, Tamar, Traci and Towanda — all aspiring singers themselves — along with the interpersonal relationships of each family member. The show will also look at Braxton's heavily publicized separation from estranged husband, singer Keri Lewis. Toni parted ways with her long time manager Vincent Herbert, who is also husband of sister Tamar Braxton, and signed a new management deal with Los Angeles-based entertainment/production company 'The Collective'.

Braxton has confirmed work on her seventh studio album and that L.A. Reid would be producing on the album. Braxton announced at Mercedes-Benz 2012 Fall/Winter Fashion Week in an interview with Rocco Leo Gaglioti as a part of "Fashion News Live" that she would be releasing a new single titled "I Heart You" in March, and that there will be a total of ten songs on the new release (nine new songs with one remix). Braxton premiered "I Heart You" on 9 March 2012.

Acting career[link]

Braxton has appeared on two Disney Broadway shows: She made her Broadway debut as Belle in ''"Beauty and the Beast''" beginning September 9, 1998 where she replaced Kim Huber. During her run in the show Alan Menken wrote a new song for the musical called "A Change in Me," which was specially written for Braxton and was used in the musical ever since. She left the production on February 28, 1999 and was succeeded by Andrea McArdle. Her role in "Beauty and the Beast" marked the first (and only) time a black woman commanded the leading role of Belle on Broadway. (In the UK, Michelle Gayle played the role in the West End.) It also marked the first time a black woman would star in a Disney musical on Broadway. She then starred in "Aida" as Aida beginning June 30, 2003 where she replaced Simone and left the cast on November 16, 2003 where she was replaced by Michelle Williams. In 2001, she made her movie acting debut in the feature film ''Kingdom Come''. In 2004, Braxton appeared as herself, voicing a singing character named Toni, in a special episode and DVD release of the children's television show Blue's Clues. In August 2005, Braxton announced that she would be shooting a sitcom pilot for The WB's fall 2006 line-up, though plans to put the show into full-production fell through when The WB announced it would cease to exist in fall 2006 (as part of a merger with UPN to form The CW), She has also starred in the TV sitcom, ''Kevin Hill''. Braxton has recently completed filming of "''The Oogieloves in the Big Balloon Adventure''" alongside Jaime Pressly and Cloris Leachman due to be released 2010. Her character - Rosalie Rosebud - is a singer, whose over-the-top personality was apparently inspired by Mariah Carey.

Personal life[link]

Marriage, family, and son's autism[link]

Braxton met musician Keri Lewis when his group, Mint Condition, opened for her on tour. On April 21, 2001, they were married. On December 2, 2001, she gave birth to their first child, a son named Denim Cole Braxton-Lewis. The couple's second son, Diezel Ky Braxton-Lewis, was born on March 31, 2003.

In an October 2006 concert at the Flamingo in Las Vegas, it was reported that Braxton broke down in tears discussing her son, Diezel, who had recently been diagnosed with autism. Braxton has been outspoken regarding her doctor's failure to diagnose Diezel's condition earlier, contending that if he had been diagnosed earlier, he could have been helped.

As well as becoming a spokeswoman for Autism Speaks, she is also a spokeswoman for the American Heart Association.

In November 2009, through her attorney Antavius Weems, Braxton announced that she and Lewis had separated.

Health problems[link]

As of August 2007, rumors surfaced that she has been diagnosed with breast cancer. Toni stated to ''Access Hollywood'' that the breast cancer rumors were false and that her health is in great condition. However, in 2008, she had a benign lump removed from her breast.

On April 8, 2008, near the end of her two-year run at the Flamingo Hotel, Braxton was briefly hospitalized and the remaining dates on the show, which was scheduled to end on August 23, 2008, were canceled. Later, while appearing on Season 7 of Dancing with the Stars, she stated that she has been diagnosed with microvascular angina (small vessel disease).

On November 18, 2010, Braxton admitted to CBS News that she suffers from systemic lupus erythematosus, a potentially life threatening autoimmune disease. Braxton's brother also suffers from the disease, and her uncle died of complications from lupus.

Discography[link]

1993: ''Toni Braxton''

1996: ''Secrets''

2000: ''The Heat''

2001: ''Snowflakes''

2002: ''More Than a Woman''

2005: ''Libra''

2010: ''Pulse''

Tours[link]

Secrets Tour (1997)

Libra Tour (2006)

Awards and nominations[link]

Filmography[link]

2001: ''Kingdom Come'' - Juanita Slocumb

2002: ''Play'd: A Hip Hop Story'' (TV) - Shonda

2005: ''Kevin Hill'' (3 Episodes, TV Series) - Terry Knox

2010: ''The Oogieloves in the Big Balloon Adventure'' - Rosalie Rosebud

References[link]

External links[link]

Category:1967 births Category:Living people Category:Actors from Maryland Category:African American female activists Category:African American female singer-songwriters Category:African American film actors Category:African American pianists Category:American health activists Category:American contraltos Category:American pop singer-songwriters Category:American rhythm and blues singer-songwriters Category:American soul singers Category:Arista Records artists Category:Atlantic Records artists Category:Autism activists Category:Bowie State University alumni Category:Grammy Award winners Category:Musicians from Maryland Category:Participants in American reality television series Category:People from Anne Arundel County, Maryland Category:People from Atlanta, Georgia Category:People from the Las Vegas Valley Category:The Braxtons members

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Birth name	Faith Renee Evans
Background	solo_singer
Birth date	June 10, 1973
Birth place	Lakeland, Florida
Married to	Christopher "The Notorious B.I.G." Wallace, Todd Russaw
Origin	Newark, New Jersey,United States
Voice type	Mezzo_soprano
Genre	R&B;, soul, hip hop soul, hip hop
Occupation	Singer-songwriter, record producer, actress
Years active	1993–present
Label	Bad Boy (1994–2004)Capitol (2004–2007) Prolific/E1 Music (2009–present)
Associated acts	Sean Combs, Keyshia Cole, Mary J. Blige, 112, Lil' Mo, The Notorious B.I.G.,
Website	FaithEvansOnline.com }}

Faith Renée Evans (born June 10, 1973) is an American singer-songwriter, record producer, and actress. Born in Florida and raised in New Jersey, Evans relocated to Los Angeles during 1993 for a career in the music business. After working as a backing vocalist for Al B. Sure and Christopher Williams, she became the first female artist to be contracted with Sean "Puff Daddy" Combs' Bad Boy Entertainment recording company during 1994, for which she released three platinum-certified studio albums between the years 1995 and 2001. During 2003, she ended her relationship with the company to contract with Capitol Records.

Other than her recording career, Evans is known as the widow of New York rapper Christopher "The Notorious B.I.G." Wallace, whom she married on August 4, 1994, a few weeks after meeting at a Bad Boy photoshoot. The turbulent marriage resulted in Evans' involvement in the East Coast-West Coast hip hop feud, dominating the rap music news at the time, and ended with Wallace's murder in a yet-unsolved drive-by shooting in Los Angeles, California on March 9, 1997. A 1997 tribute single featuring Puff Daddy and the band 112, named "I'll Be Missing You", became Evans' best-selling song to date and won her a Grammy Award during 1998.

Also an avocational actress and writer, Evans made her screen debut in the 2000 musical drama ''Turn It Up'' by Robert Adetuyi. Her autobiography ''Keep the Faith: A Memoir'' was released by Grand Central Publishing during 2008 and won a 2009 African American Literary Award for the Best Biography/Memoir category.

Biography[link]

Early life and career beginnings[link]

Evans was born in Lakeland, Florida to an African-American mother, Helene Evans, a professional singer. Her father, Richard Swain, was a musician who left before Evans was born (Evans has said "I've heard people mumble something about him being Italian, but I don't know for sure"). A half year later, 19-year-old Helene returned to Newark, New Jersey and left Faith with her cousin Johnnie Mae and husband Orvelt Kennedy, the foster parents of more than a hundred children they raised in the time that Faith lived with them. It was not until a couple of years later that Helene's career floundered and she tried to take Evans back home. Faith, however, was afraid to leave what she'd "been used to", and instead, Helene relocated next door.

Raised in a Christian home, Evans began singing at church at age two. At age four, she caught the attention of the congregation of the Emmanuel Baptist Church (in Newark) when she sang The 5th Dimension's song "Let the Sunshine In". While attending University High School in Newark, she sang with several jazz bands and, encouraged by Helene, entered outside pageants, festivals and contests, where her voice would be noticed and praised. After graduating from high school during 1991, Evans attended Fordham University in New York City to study marketing but left a year later to have daughter Chyna with music producer Kiyamma Griffin. A couple of months later , she relocated to Los Angeles, where she worked as a backup vocalist for singer Al B. Sure, when she was noticed by musician Sean "Puff Daddy" Combs. Impressed with her persona, Combs contracted her as the company's first female artist to his Bad Boy Entertainment during 1994.

1994-01: ''Faith'', ''Keep The Faith'', Biggie, motherhood and marriage[link]

Newly contracted to Bad Boy Records, Evans was consulted by executive producer Combs to contribute backing vocals and writing skills to Mary J. Blige's ''My Life'' (1994) and Usher's self-titled debut album (1994) prior to starting work on her debut record album ''Faith''. Released on August 29, 1995 in North America, the album was a collaboration with Bad Boy's main producers "The Hitmen", including Chucky Thompson and Combs, but it resulted in recordings with Poke & Tone and Herb Middleton. ''Faith'' became a success based on the singles "You Used to Love Me" and "Soon as I Get Home". The album was certified Platinum with 1,500,000 copies sold, according to RIAA.

On August 4, 1994, Evans married rapper and label mate The Notorious B.I.G., after having met him at a Bad Boy photoshoot. The couple had one child together, Christopher Wallace, Jr. (born October 29, 1996), but the marriage was turbulent as Wallace reportedly had several affairs during their union, including relationships with fellow rappers Lil' Kim and Charli Baltimore. Additionally, it led to Evans' involvement in the East Coast-West Coast hip hop feud, dominating the rap music news at the time, which ended with Wallace's murder in a yet-unsolved drive-by shooting in Los Angeles, California in March 1997, and made Evans "Rap's most famous widow". During early 1997, after her separation from Wallace, but before his death, Evans was introduced to record company executive Todd Russaw. Faith began dating Russaw during her and Wallace's separation and eventually, after Wallace died, Evans became pregnant by Russaw. The couple had their first son Joshua on June 8, 1998. During the summer of 1998, Evans and Russaw were married, and on March 22, 2007, they had their second son Ryder Evan Russaw. After Biggie's murder during March 1997, Combs helped Evans produce her tribute song named "I'll Be Missing You", based on the melody of The Police's 1983 single "Every Breath You Take". The song, which featured Combs, Evans, and all-male group 112, became a worldwide number-one success and debuted at #1 on the U.S. ''Billboard'' Hot 100 chart during 1997, scoring that for eleven weeks. It eventually won Puffy and Evans the 1998 Grammy Award for Best Rap Performance by a Duo or Group. The next year, she received another two Grammy nominations for "Heartbreak Hotel", a collaboration with singers Whitney Houston and Kelly Price, that scored number two on the ''Billboard'' Hot 100 chart. Prior to Evans meeting and having a relationship with The Notorious B.I.G., she was involved in a relationship with Kiyamma Griffin. She and Griffin had a daughter named Chyna (born April 1, 1993).

Two years in the making, Evans' second solo effort, ''Keep the Faith'', was released during October 1998. Almost entirely written and produced by her, Evans considered the album difficult to complete as she had initially felt discouraged about the progress at first. Upon its release, however, the album garnered generally positive reviews by music critics, with Allmusic noting it "without a doubt a highlight of 1990s soul-pop music". Also enjoying commercial success, it eventually went platinum and produced the top ten singles "Love Like This" and "All Night Long" (released March 30, 1999) prompting Evans to start an 18-city theater tour with Dru Hill and Total the following year.

2001-07: ''Faithfully'', legal issues, Capitol Records and ''The First Lady''[link]

Evans' third album on the Bad Boy imprint, named ''Faithfully'' (2001), involved her working with a wider range of producers, including The Neptunes, Mario Winans, Buckwild, Vada Nobles, Cory Rooney, and others. Her first project with husband Todd Russaw as executive producer and creative partner, the album scored number 14 on the ''Billboard'' 200 album chart and number two on the Top R&B;/Hip-Hop Albums chart, eventually being certified platinum, but yielded moderately successful singles, with the Jennifer Lopez-written "I Love You" becoming the only top twenty entry. Released amid Bad Boy Records' transition from distributor Arista Records to Universal, Evans felt ''Faithfully'' received minimum assistance by the company, and during 2004, she finally decided to end her business with Bad Boy as she was convinced Combs couldn't improve her career any more due to his other commitments. During January 2004, Evans and Russaw were arrested and charged with possession of marijuana and cocaine and an improper tag violation during a traffic stop in Hapeville, a suburb of Atlanta, Georgia.

After ending with Bad Boy Entertainment Evans contracted with Capitol Records company, becoming the first contemporary R&B; artist to do so, and started work on her fourth studio album ''The First Lady'', named after her nickname on her former label. As opposed to having an in-house team of producers who supplied most of the previous material, she and Russaw were able to gain more creative control of the album and consulted producers such as Bryan-Michael Cox, Jermaine Dupri, Mike Caren, Pharrell Williams, and Chucky Thompson to contribute to it. Upon its release in April 2005, ''The First Lady'' scored at number two on the ''Billboard'' 200 and #1 of the Top R&B;/Hip-Hop Albums chart, becoming Evans' best-charting album to date. It was eventually certified gold by the RIAA. At the end of the year, Evans released ''A Faithful Christmas'', a holiday album of traditional Christmas songs and original tracks. The effort would become her last release on Capitol Records as the company was bought during 2007.

2008-present: Hiatus, arrest, second child, divorce and ''Something About Faith''[link]

Following a longer hiatus, Evans signed a deal with E1 Entertainment - the largest independent record label in the United States - in 2010. Her sixth studio album ''Something About Faith'' was released on October 5, 2010 in the United States and December 6, 2010 in the UK. In the US, the album debuted and peaked at number fifteen on the ''Billboard'' 200, number four on the Top R&B;/Hip-Hop Albums chart and number one on the Independent Albums chart, failing however to chart oustide the US - making it Evans' only album since her debut ''Faith'' to chart in the US only. ''Something About Faith'' has spawned the single and music video "Gone Already"; which spent over thirty-three weeks on the US ''Billboard'' Hot R&B;/Hip-Hop Songs chart, where it peaked at number twenty-two. On February 14, 2011, a high definition music video for "Right Here" was released on Evans' official YouTube account, suggesting that it is the second single from the album, though this is yet to be confirmed.

In August 2010, she was arrested on suspicion of misdemeanor drunken driving, after being stopped at a checkpoint in Marina del Rey, California. In 2011, Evans filed for divorce against Russaw. The couple agreed to spend 13 weeks in a drug-treatment program in exchange for halting any further prosecution of their drug-possession case.

On March 22, 2007, they had their second son Ryder Evan Russaw. In May 2011, Evans and Russaw announced they were getting a divorce, and stated they would like to keep it quiet for the children's sakes.

Other ventures[link]

Acting[link]

Having previously appeared in stage plays as a teenager, Evans began acting with a supporting role in director Robert Adetuyi's 2000 music drama ''Turn It Up'', featuring Pras Michel from the The Fugees, Jason Statham and Ja Rule. Released to generally negative reviews from critics, who noted it "patently absurd in both the details and larger aspects", the indie film had a short play and became a financial disappointment, gaining US$1.24 million during its U.S. run only.

During 2003, Evans acted in the MTV-produced romantic comedy ''The Fighting Temptations'' in which she appeared in a brief but major role portraying a single mother and night club singer. Filmed in Columbus, Georgia and headed by Cuba Gooding, Jr. (her character is his mother) and Beyoncé Knowles, the film garnered mixed reviews by critcs, but scored top three of the U.S. box office, resulting in a domestic gross of US$30.2 million. In addition, Evans recorded a contemporary cover version of Donna Summer's 1978 success "Heaven Knows" for the film which her characters performs during one of the first in sequence in the film. The accompanying soundtrack scored the top twenty of the U.S. ''Billboard'' 200.

During 2004, Evans earned a brief guest stint on the UPN situation comedy ''Half & Half''. Evans announced that she had been working on a synopsis for her own situation comedy that would be based largely on her life but with a more comedic aspect. It is unknown whether she has officially pitched the sitcom to any television networks at this time.

Writing[link]

Evans released her autobiographic book called ''Keep the Faith: A Memoir'' on August 29, 2008. It detailed the singer's life, but also discussed Evans' controversial relationship with her late husband, the Notorious B.I.G.:

"I want people to understand that although he was a large part of my life, my story doesn't actually begin or end with Big's death. My journey has been complicated on many levels. And since I am always linked to Big, there are a lot of misconceptions about who I really am. It's not easy putting your life out there for the masses. But I've decided I'll tell my own story. For Big. For my children. And for myself."

In its initial release, "Keep the Faith: A Memoir" landed in the Top 20 on New York's Best Seller's List two consecutive weeks in a row. During 2009, the book received The 2009 African American Literary Award for Best Biography/Memoir.

Discography[link]

Studio albums

1995: ''Faith''

1998: ''Keep the Faith''

2001: ''Faithfully''

2005: ''The First Lady''

2010: ''Something About Faith''

Other albums

2005: ''A Faithful Christmas''

Tours[link]

''The First Lady Tour'' (2005)

Filmography[link]

2000: ''Turn It Up''

2003: ''The Fighting Temptations''

2009: ''Notorious''

Awards and nominations[link]

African American Literary Award

*2009: African American Literary Award: ''Keep the Faith (A Memoir)'' (won)

BET Awards

*2002: Best Female R&B; Artist (nominated)

Grammy Awards

*2011: Best Female R&B; Vocal Performance: "Gone Already" (nominated)

*2003: Best Contemporary R&B; Album: ''Faithfully'' (nominated)

*2001: Best R&B; Performance by a Duo or Group: "Can't Believe" w/ Carl Thomas (nominated)

*2000: Best R&B; Performance by a Duo or Group: "Heartbreak Hotel" w/ Whitney Houston & Kelly Price (nominated)

*1999: Best Female R&B; Vocal Performance: "Love Like This" (nominated)

*1998: Best Rap Performance by a Duo or Group: "I'll Be Missing You" w/ Diddy (won)

Lady of Soul Awards

*2000: Outstanding Music Video: "Love Is Blind" (by Eve ft. Faith Evans) (nominated)

*1996: Best Female R&B;/Soul Album: ''Faith'' (won)

*1996: Best R&B;/Soul or Rap New Artist: "You Used to Love Me" (nominated)

MTV Video Music Awards

*2000: Best Rap Video: "Love Is Blind" (by Eve ft. Faith Evans) (nominated)

*1999: Best R&B; Video: "Heartbreak Hotel" (nominated)

*1997: Best R&B; Video: "I'll Be Missing You" (won)

*1997: Viewer's Choice: "I'll Be Missing You" (nominated)

Soul Train Awards

*2006: Best Female R&B;/Soul Album: ''The First Lady'' (nominated)

*1998: Outstanding Music Video: "I'll Be Missing You" (won)

References[link]

External links[link]

Official site

Faith Evans interview by Pete Lewis, 'Blues & Soul' November 2010

''The Observer'' interview, 2005

''Vibe'' interview, 2005

Category:1973 births Category:Living people Category:Actors from New Jersey Category:African American film actors Category:African American female singer-songwriters Category:African American record producers Category:American Christians Category:American rhythm and blues singer-songwriters Category:American soul singers Category:Hip hop singers Category:Bad Boy Records artists Category:Capitol Records artists Category:Grammy Award winners Category:Musicians from New Jersey Category:People from Lakeland, Florida Category:People from Newark, New Jersey

de:Faith Evans et:Faith Evans es:Faith Evans fr:Faith Evans it:Faith Evans nl:Faith Evans ja:フェイス・エヴァンス pl:Faith Evans pt:Faith Evans ro:Faith Evans simple:Faith Evans sv:Faith Evans tr:Faith Evans

Name	Manfred von Richthofen
Birth date	May 02, 1892
Death date	April 21, 1918
Birth place	Breslau, Germany(now Wrocław, Poland)
Death place	Morlancourt Ridge, near Vaux-sur-Somme, France
Nickname	"Red Baron"
Allegiance	German Empire
Serviceyears	1911–1918
Rank	''Rittmeister'' (Cavalry Captain)
Branch	''Uhlan (Lancers)''''Luftstreitkräfte'' (Imperial German Army Air Service)
Commands	Jasta 11 (January 1917) Jagdgeschwader 1 (24 June 1917 – 21 April 1918)
Unit	Jasta 11, Jagdgeschwader 1
Relations	Lothar von Richthofen (brother),Wolfram von Richthofen (cousin)''see Richthofen for more''
Laterwork	}}

Manfred Albrecht ''Freiherr'' von Richthofen (2 May 1892 – 21 April 1918), also widely known as the Red Baron, was a German fighter pilot with the Imperial German Army Air Service (''Luftstreitkräfte'') during World War I. He is considered the top ace of that war, being officially credited with 80 air combat victories, more than any other pilot.

Originally a cavalryman, Richthofen transferred to the Air Service in 1915, becoming one of the first members of ''Jasta 2'' in 1916. He quickly distinguished himself as a fighter pilot, and during 1917 became leader of ''Jasta 11'' and then the larger unit ''Jagdgeschwader 1'' (better known as the "Flying Circus"). By 1918, he was regarded as a national hero in Germany, and was very well known by the other side.

Richthofen was shot down and killed near Amiens on 21 April 1918. There has been considerable discussion and debate regarding aspects of his career, especially the circumstances of his death. He remains quite possibly the most widely-known fighter pilot of all time, and has been the subject of many books and films.

Name and nicknames[link]

Richthofen was a ''Freiherr'' (literally "Free Lord"), a title of nobility often translated as Baron. This is not a given name nor strictly a hereditary title—since all male members of the family were entitled to it, even during the lifetime of their father. This title, combined with the fact that he had his aircraft painted red, led to Richthofen being called "The Red Baron" () both inside and outside Germany. During his lifetime, however, he was more often described in German as ''Der Rote Kampfflieger'' (variously translated as ''The Red Battle Flyer'' or ''The Red Fighter Pilot''). This name was used as the title of Richthofen's 1917 autobiography.

Richthofen's other nicknames include "Le Diable Rouge" ("Red Devil") or "Le petit Rouge" ("Little Red") in French, and the "Red Knight" in English.

Early life[link]

Von Richthofen was born in Kleinburg, near Breslau, Lower Silesia (now part of the city of Wrocław, Poland), into a prominent Prussian aristocratic family. His father was Major Albrecht Phillip Karl Julius ''Freiherr'' von Richthofen and his mother was Kunigunde von Schickfuss und Neudorff. He had an elder sister (Ilse) and two younger brothers.

When he was four years old, Manfred moved with his family to nearby Schweidnitz (now Świdnica). He enjoyed riding horses and hunting as well as gymnastics at school. He excelled at parallel bars and won a number of awards at school. He and his brothers, Lothar and Bolko, hunted wild boar, elk, birds, and deer.

After being educated at home he attended a school at Schweidnitz, before beginning military training when he was 11. After completing cadet training in 1911, he joined an Uhlan cavalry unit, the ''Ulanen-Regiment Kaiser Alexander der III. von Russland (1. Westpreußisches) Nr. 1'' ("1st Uhlan Regiment 'Emperor Alexander III of Russia (1st West Prussia Regiment)' "), and was assigned to the regiment's ''3. Eskadron'' ("Number 3 Squadron").

When World War I began, Richthofen served as a cavalry reconnaissance officer on both the Eastern and Western Fronts, seeing action in Russia, France, and Belgium. Traditional cavalry operations soon became impossible due to machine guns and barbed wire, and the Uhlans were used as infantry. Disappointed at not being able to participate more often in combat, Richthofen applied for a transfer to ''Die Fliegertruppen des deutschen Kaiserreiches'' (Imperial German Army Air Service), later to be known as the ''Luftstreitkräfte'', shortly after viewing a German military aircraft while deployed behind the lines. To his own surprise, his request was granted, and he joined the flying service at the end of May 1915.

Piloting career[link]

From June to August 1915, Richthofen was an observer on reconnaissance missions over the Eastern Front with ''Fliegerabteilung 69'' ("No. 69 Flying Squadron"). On being transferred to the Champagne front, he managed to shoot down an attacking French Farman aircraft with his observer's machine gun in a tense battle over French lines; however, he was not credited with the kill, since it fell behind Allied lines and therefore, could not be confirmed.

After a chance meeting of the German ace fighter pilot Oswald Boelcke, Richthofen entered training as a pilot in October 1915. In March 1916, he joined ''Kampfgeschwader 2'' ("No. 2 Bomber ''Geschwader''") flying a two-seater Albatros C.III. Initially he appeared to be a below average pilot, struggling to control his aircraft, and crashing during his first flight at the controls. Despite this poor start, he rapidly became attuned to his aircraft and, as if in confirmation, over Verdun on 26 April 1916, he fired on a French Nieuport, downing it over Fort Douaumont,although once again, he received no official credit. A week later, he decided to ignore more experienced pilots' advice against flying through a thunderstorm, and later noted that he had been "lucky to get through [the weather]", and vowed never again to fly in such conditions unless ordered to do so.

After another spell flying two-seaters on the Eastern Front, he met Oswald Boelcke again in August 1916. Boelcke, visiting the east in search of candidates for his newly formed fighter unit, selected Richthofen to join ''Jagdstaffel 2'' ("fighter squadron"). Richthofen won his first aerial combat with Jasta 2 over Cambrai, France, on 17 September 1916. Boelcke was killed during a midair collision with a friendly aircraft on 28 October 1916, Richthofen witnessing the event himself.

After his first confirmed victory, Richthofen ordered a silver cup engraved with the date and the type of enemy machine from a jeweller in Berlin. He continued this until he had 60 cups, by which time the dwindling supply of silver in blockaded Germany meant that silver cups like this could no longer be supplied. Richthofen discontinued his orders at this stage, rather than accept cups made in pewter or other base metal.

Instead of using risky, aggressive tactics like those of his brother, Lothar (40 victories), Manfred observed a set of maxims (known as the "Dicta Boelcke") to assure the success for both the squadron and its pilots. He was not a spectacular or aerobatic pilot, like his brother or the renowned Werner Voss. However, he was a notable tactician and squadron leader and a fine marksman. Typically, he would dive from above to attack with the advantage of the sun behind him, and with other Jasta pilots covering his rear and flanks.

On 23 November 1916, Richthofen downed his most famous adversary, British ace Major Lanoe Hawker VC, described by Richthofen himself as "the British Boelcke". The victory came while Richthofen was flying an Albatros D.II and Hawker was flying a D.H.2. After a long dogfight, Hawker was killed by a bullet in the head as he attempted to escape back to his own lines. After this combat, Richthofen was convinced he needed a fighter aircraft with more agility, even at a loss of speed. He switched to the Albatros D.III in January 1917, scoring two victories before suffering an inflight crack in the spar of the aircraft's lower wing on 24 January. Richthofen reverted to the Albatros D.II or Halberstadt D.II for the next five weeks. On 6 March, his aircraft was shot through the petrol tank by Edwin Benbow, but Richthofen force landed without injury. Richthofen then scored a victory in the Albatros D.II on 9 March, but since his Albatros D.III was grounded for the rest of the month, Richthofen switched again to a Halberstadt D.II.

He returned to his Albatros D.III on 2 April 1917 and scored 22 victories in it before switching to the Albatros D.V in late June. From late July, following his discharge from hospital, Richthofen flew the celebrated Fokker Dr.I triplane, the distinctive three-winged aircraft with which he is most commonly associated, although he did not use the type exclusively until after it was reissued with strengthened wings in November. Despite the popular link between Richthofen and the Fokker Dr. I, only 19 of his 80 kills were made in this type. It was his Albatros D.III Serial No. 789/16 that was first painted bright red, in late January 1917, and in which he first earned his name and reputation.

Richthofen championed the development of the Fokker D.VII with suggestions to overcome the deficiencies of the then current German fighter aircraft. However, he never had an opportunity to fly it in combat as he was killed just days before it entered service.

Flying Circus[link]

In January 1917, after his 16th confirmed kill, Richthofen received the Pour le Mérite ("The Blue Max"), the highest military honour in Germany at the time. That same month, he assumed command of the fighter squadron ''Jasta 11'', which ultimately included some of the elite German pilots, many of whom he trained himself. Several later became leaders of their own squadrons. Ernst Udet (later Colonel-General Udet) was a member of Richthofen's group.

At the time he became a squadron commander, Richthofen took the flamboyant step of having his Albatros painted red. Thereafter he usually flew in red painted aircraft, although not all of them were entirely red, nor was the "red" necessarily the brilliant scarlet beloved of model and replica builders.

Other members of Jasta 11 soon took to painting parts of their aircraft red—their "official" reason seems to have been to make their leader less conspicuous, and to avoid him being singled out in a fight. In practice, red colouration became a unit identification. Other jastas soon adopted their own "squadron colours" and decoration of fighters became general throughout the ''Luftstreitkräfte''. In spite of obvious drawbacks from the point of view of intelligence this practice was permitted by the German high command, and was made much of by German propaganda—Richthofen being identified as ''Der Rote Kampfflieger''—the "Red Battle Flyer".

Richthofen led his new unit to unparalleled success, peaking during "Bloody April" 1917. In that month alone, he downed 22 British aircraft, including four in a single day, raising his official tally to 52. By June he was the commander of the first of the new larger ''Jagdgeschwader'' (wing) formations, leading ''Jagdgeschwader 1'', composed of Jastas 4, 6, 10 and 11. These were highly mobile, combined tactical units that could be sent at short notice to different parts of the front as required. In this way, JG1 became "The Flying Circus", its name coming both from the unit's mobility (including, where appropriate, the use of tents, trains and caravans) and its brightly coloured aircraft. By the end of April, the "Flying Circus" also became known as the "Richthofen Circus."

Richthofen was a brilliant tactician, building on Boelcke's tactics. Unlike Boelcke, he led by example and force of will rather than by inspiration. He was often described as distant, unemotional, and rather humourless, though some colleagues contended otherwise. He circulated to his pilots the basic rule which he wanted them to fight by: "Aim for the man and don't miss him. If you are fighting a two-seater, get the observer first; until you have silenced the gun, don't bother about the pilot".

Although he was now performing the duties of a lieutenant colonel (in modern RAF terms, a wing commander), he remained a captain. The system in the British army would have been for him to have held the rank appropriate to his level of command (if only on a temporary basis) even if he had not been formally promoted. In the German army, it was not unusual for a wartime officer to hold a lower rank than his duties implied, German officers being promoted according to a schedule and not by battlefield promotion. For instance, Erwin Rommel commanded an infantry battalion as a captain in 1917 and 1918. It was also not the custom for a son to hold a higher rank than his father, and Richthofen's father was a reserve major.

Wounded in combat[link]

On 6 July 1917, during combat with a formation of F.E.2d two seat fighters of No. 20 Squadron RFC, near Wervicq, Richthofen sustained a serious head wound, causing instant disorientation and temporary partial blindness. He regained consciousness in time to ease the aircraft out of a free-falling spin and executed a rough landing in a field within friendly territory. The injury required multiple surgeries to remove bone splinters from the impact area. The air victory was credited to Captain Donald Cunnell of No. 20, who was killed a few days later. The Red Baron returned to active service (against doctor's orders) on 25 July, but went on convalescent leave from 5 September to 23 October. His wound is thought to have caused lasting damage, as he later often suffered from post-flight nausea and headaches, as well as a change in temperament. There is even a theory linking this injury with his eventual death.

Author and hero[link]

During his convalescent leave, Richthofen completed his autobiography, ''Der rote Kampfflieger''. This was written on the instructions of the "Press and Intelligence" (i.e. propaganda) section of the ''Luftstreitkräfte'', and was heavily censored and edited. An English translation by J. Ellis Barker was published in 1918 as ''The Red Battle Flyer''. Although Richthofen died before a revised version could be prepared, he is on record as repudiating the book, stating that it was "too insolent" (or "arrogant") and that he was "no longer that kind of person".

By 1918, Richthofen had become such a legend that it was feared that his death would be a blow to the morale of the German people. Richthofen himself refused to accept a ground job after his wound, stating that the average German soldier had no choice in his duties, and he would therefore continue to fly in combat. Certainly he had become part of a cult of hero-worship, assiduously encouraged by official propaganda. German propaganda circulated various false rumours, including that the British had raised squadrons specially to hunt down Richthofen, and were offering large rewards and an automatic Victoria Cross to any Allied pilot who shot him down. Passages from his correspondence indicate he may have at least half believed some of these stories himself.

Death[link]

Richthofen was fatally wounded just after 11:00 am on 21 April 1918, while flying over Morlancourt Ridge, near the Somme River.

At the time, the Baron had been pursuing (at very low altitude) a Sopwith Camel piloted by a novice Canadian pilot, Lieutenant Wilfrid "Wop" May of No. 209 Squadron, Royal Air Force. In turn, the Baron was spotted and briefly attacked by a Camel piloted by a school friend (and flight commander) of May's, Canadian Captain Arthur "Roy" Brown, who had to dive steeply at very high speed to intervene, and then had to climb steeply to avoid hitting the ground. Richthofen turned to avoid this attack, and then resumed his pursuit of May.

It was almost certainly during this final stage in his pursuit of May that Richthofen was hit by a single .303 bullet, which caused such severe damage to his heart and lungs that it must have produced a very speedy death. In the last seconds of his life, he managed to make a hasty but controlled landing ( ) in a field on a hill near the Bray-Corbie road, just north of the village of Vaux-sur-Somme, in a sector controlled by the Australian Imperial Force (AIF). One witness, Gunner George Ridgway, stated that when he and other Australian soldiers reached the aircraft, Richthofen was still alive but died moments later. Another eye witness, Sergeant Ted Smout of the Australian Medical Corps, reported that Richthofen's last word was "''kaputt''".

His Fokker Dr.I, ''425/17'', was not badly damaged by the landing, but it was soon taken apart by souvenir hunters.

No. 3 Squadron, Australian Flying Corps, as the nearest Allied air unit, assumed responsibility for the Baron's remains.

In 2009, Richthofen's death certificate was found in the archives in Ostrów Wielkopolski, Poland. Richthofen had briefly been stationed in Ostrów—which was part of Germany until the end of World War I—before going to war. The document, which is a one-page, handwritten form in a 1918 registry book of deaths, misspells Richthofen's name as "Richthoven" and simply states that he has "died 21 April 1918, from wounds sustained in combat".

Controversy[link]

Controversy and contradictory hypotheses continue to surround the identity of the person who fired the shot that actually killed Richthofen.

The RAF credited Brown with shooting down the Red Baron, but it is now generally agreed that the bullet that hit Richthofen was fired by someone on the ground. Richthofen died following an extremely serious and inevitably fatal chest wound from a single bullet, penetrating from the right armpit and resurfacing next to the left nipple. Brown's attack was from above and the left. Even more conclusively, Richthofen could not have continued his pursuit of May for as long as he did (up to two minutes) had this wound come from Brown's guns. Brown himself never spoke much about what happened that day, claiming, "There is no point in me commenting, as the evidence is already out there".

Many sources, including a 1998 article by Geoffrey Miller, a physician and historian of military medicine, and a 2003 U.S. Public Broadcasting Service documentary, have suggested that Sergeant Cedric Popkin was the person most likely to have killed Richthofen. Popkin was an anti-aircraft (AA) machine gunner with the Australian 24th Machine Gun Company, and was using a Vickers gun. He fired at Richthofen's aircraft on two occasions: first as the Baron was heading straight at his position, and then at long range from the right. Given the nature of Richthofen's wounds, Popkin was in a position to fire the fatal shot, when the pilot passed him for a second time, on the right. Some confusion has been caused by a letter that Popkin wrote, in 1935, to an Australian official historian. It stated Popkin's belief that he had fired the fatal shot as Richthofen flew straight at his position. However, in the latter respect, Popkin was incorrect: the bullet that caused the Baron's death came from the side (see above).

A 2002 Discovery Channel documentary suggests that Gunner W. J. "Snowy" Evans, a Lewis machine gunner with the 53rd Battery, 14th Field Artillery Brigade, Royal Australian Artillery is likely to have killed von Richthofen. However, Miller and the PBS documentary dismiss this theory, because of the angle from which Evans fired at Richthofen.

Other sources have suggested that Gunner Robert Buie (also of the 53rd Battery) may have fired the fatal shot. There is little support for this theory. Nevertheless, in 2007, a municipality in Sydney recognised Buie as the man who shot down Richthofen, placing a plaque near Buie's former home. Buie, who died in 1964, has never been officially recognised in any other way.

The commanding officer of No. 3 Squadron AFC, Major David Blake, initially suggested that Richthofen had been killed by the crew of one of his squadron's R.E.8s, which had also fought Richthofen's unit that afternoon. However, this was quickly disproved (if only by the time factor), and following an autopsy that he witnessed, Blake became a strong proponent of the view that an AA machine gunner had killed Richthofen.

Theories about last combat[link]

Richthofen was a highly experienced and skilled fighter pilot—fully aware of the risk from ground fire. Furthermore he was fully in accord with his late mentor Boelcke's rules of air fighting, which were strongly against taking foolish risks. In this context, it is universally accepted that Richthofen's judgement during his last combat was uncharacteristically unsound in several respects. Several theories have been proposed to account for his behaviour.

In 1999, a German medical researcher, Henning Allmers, published an article in British medical journal ''The Lancet'', suggesting it was likely that brain damage from the head wound Richthofen suffered in July 1917 (see above) played a part in the Red Baron's death. This was supported by a 2004 paper by researchers at the University of Texas. Richthofen's behaviour after his injury was noted as consistent with brain-injured patients, and such an injury could account for his perceived lack of judgment on his final flight: flying too low over enemy territory and suffering target fixation.

Richthofen may have been suffering from cumulative combat stress, which made him fail to observe some of his usual precautions. One of the leading British air aces, Major Edward "Mick" Mannock, was killed by ground fire on 26 July 1918 while crossing the lines at low level, an action he had always cautioned his younger pilots against. One of the most popular of the French air aces, Georges Guynemer, went missing on 11 September 1917, probably while attacking a two-seater without realizing several Fokkers were escorting it.

There is a suggestion in Franks and Bennett's 2007 book that on the day of Richthofen's death, the prevailing wind was about 25 mph (40 km/h) easterly, rather than the usual westerly. This meant that Richthofen, heading generally westward at an airspeed of about 100 mph (160 km/h), was travelling over the ground at 125 mph (200 km/h) rather than the more typical ground speed of 75 mph (120 km/h). This was 60% faster than normal and he could easily have strayed over enemy lines without realizing it, especially since he was struggling with one jammed gun and another that was firing only short bursts before needing to be re-cocked.

At the time of Richthofen's death the front was in a highly fluid state, following the initial success of the German offensive of March–April 1918. This was part of Germany's last opportunity to win the war. In the face of Allied air superiority, the German air service was having difficulty acquiring vital reconnaissance information, and could do little to prevent Allied squadrons from completing effective reconnaissance and close support of their armies.

Burial[link]

In common with most Allied air officers, Major Blake, who was responsible for Richthofen's remains, regarded the Red Baron with great respect, and he organised a full military funeral, to be conducted by the personnel of No. 3 Squadron AFC.

Richthofen was buried in the cemetery at the village of Bertangles, near Amiens, on 22 April 1918. Six airmen with the rank of Captain—the same rank as Richthofen—served as pallbearers, and a guard of honour from the squadron's other ranks fired a salute. Allied squadrons stationed nearby presented memorial wreaths, one of which was inscribed with the words, "To Our Gallant and Worthy Foe".

A speculation that his opponents organised a flypast at his funeral, giving rise to the missing man formation, is most unlikely and totally unsupported by any contemporary evidence.

In the early 1920s the French authorities created a military cemetery at Fricourt, in which a very large number of German war dead, including Richthofen, were reinterred. In 1925, Manfred von Richthofen's youngest brother, Bolko, recovered the body from Fricourt and took the Red Baron home to Germany. The family's intention was for Manfred to rest in the Schweidnitz cemetery, next to the graves of his father and his brother Lothar, who had been killed in a post-war air crash in 1922. The German government requested, however, that the final resting place be the Invalidenfriedhof Cemetery in Berlin, where many German military heroes and past leaders were buried and the family agreed. Later the Nazi regime organised a grandiose memorial ceremony over this grave, erecting a massive new tombstone with the single word: “Richthofen”. During the Cold War the Invalidenfriedhof was on the boundary of the Soviet zone in Berlin, and the tombstone became pockmarked with bullets fired at attempted escapees to the west. In 1975, the remains were moved to a family plot at the Südfriedhof in Wiesbaden, where he is buried next to his brother Bolko, his sister Elisabeth, and her husband.

Number of victories[link]

For decades after World War I, some authors questioned whether Richthofen achieved 80 victories, insisting that his record was exaggerated for propaganda purposes. Some claimed that he took credit for aircraft downed by his squadron or wing.

In fact, Richthofen’s victories are better documented than those of most aces. A full list of the aircraft the Red Baron was credited with shooting down was published as early as 1958—with documented RFC/RAF squadron details, aircraft serial numbers, and the identities of Allied airmen killed or captured—73 of the 80 are listed as matching recorded British losses. A study conducted by British historian Norman Franks with two colleagues, published in ''Under the Guns of the Red Baron'' in 1998, reached the same conclusion about the high degree of accuracy of Richthofen's claimed victories. There were also unconfirmed victories that would put his actual total as high as 100 or more.

For comparison, the highest scoring Allied ace was Frenchman René Fonck, with 75 confirmed victories and further 52 unconfirmed behind enemy lines. The highest scoring British Empire fighter pilots were Canadian Billy Bishop credited with 72 victories, and Mick Mannock with 50 confirmed kills and a further 11 unconfirmed.

It is also significant that while Richthofen's early victories and the establishment of his reputation coincided with a period of German air superiority, many of his successes were achieved against a numerically superior enemy, who were flying fighter aircraft that were on the whole better than his own.

Saxon Military Order of St. Henry, Knight's Cross: 16 April 1917.

Württemberg Military Merit Order, Knight's Cross: 13 April 1917.

Saxe-Ernestine House Order, Knight 1st Class with Swords (issued by the Duchy of Saxe-Coburg and Gotha): 9 May 1917.

Hesse General Honour Decoration, "for Bravery"

Lippe War Honour Cross for Heroic Deeds: 13 October 1917.

Schaumburg-Lippe Cross for Faithful Service: 10 October 1917.

Bremen Hanseatic Cross: 25 September 1917.

Lübeck Hanseatic Cross: 22 September 1917.

Austrian Order of the Iron Crown, 3rd Class with War Decoration: 8 August 1917.

Austrian Military Merit Cross, 3rd Class with War Decoration

Bulgarian Order of Bravery, 4th Class (1st Grade): June 1917.

Turkish Imtiaz Medal in Silver with Sabres

Turkish Liakat Medal in Silver with Sabres

Turkish War Medal ("Iron Crescent"): 4 November 1917.

German Army Pilot's Badge

German Army Observer's Badge

Austrian Field Pilot's Badge (Franz Joseph pattern)

;Tributes At various times, several different German military aviation ''Geschwader'' (literally "squadrons"; equivalent to Commonwealth air force "groups", French ''escadrons'' or USAF "wings") have been named after the Baron:

''Jagdgeschwader 132 "Richthofen"'' (1 April 1936 – 1 November 1938)—''Wehrmacht'' aviation unit

''Jagdgeschwader 131 "Richthofen"'' (1 November 1938 – 1 May 1939)—''Luftwaffe''

''Jagdgeschwader 2 "Richthofen"'' (1 May 1939 – 7 May 1945)—''Luftwaffe''

''Jagdgeschwader 71 "Richthofen"'' (from 6 June 1959)—the first jet fighter unit established by the post-World War II German ''Bundeswehr'' ("federal defence force"); its founding commander was the most successful air ace in history, Erich Hartmann.

In 1941, a newly launched ''Kriegsmarine'' (navy) seaplane tender was also named ''Richthofen''.

The engine of Richthofen's DR.I was donated to the Imperial War Museum in London, where it is still on display. The control column (joystick) of Richthofen's aircraft can be seen at the Australian War Memorial, in Canberra. The Royal Canadian Military Institute, in Toronto, holds two parts of the aircraft: its seat and a side panel signed by the pilots of Brown's squadron.

See also[link]

List of victories of Manfred von Richthofen

List of World War I flying aces

The Red Baron in popular culture

''The Red Baron'' (film), a film released in 2008, which is largely fictionalized

''Von Richthofen and Brown'', a theatrical film released in 1971, spanning the time from just before von Richtofen's first confirmed kill until his death.

Notes[link]

Footnotes [link]

Citations[link]

References[link]

Baker, David. ''Manfred von Richthofen: The Man and the Aircraft He Flew''. McGregor, Minnesota: Voyageur Press, 1991. ISBN 1-87154-706-7.

Bodenschatz, Karl. ''Hunting With Richthofen: Sixteen Months of Battle with J G Freiherr Von Richthofen No. 1''. London: Grub Street, 1998. ISBN 1-89869-797-3.

Burrows, William E. ''Richthofen: A True History of the Red Baron''. London: Rupert Hart-Davis, 1970. ISBN 0-15177-172-3.

English, Dave. ''The Air Up There: More Great Quotations on Flight''. Chicago, Illinois: McGraw-Hill Professional, 2003. ISBN 0-07141-036-8.

Franks, Norman L.R. and Frank W. Bailey. ''Over the Front: A Complete Record of Fighter Aces and Units of the United States and French Air Services, 1914–1918''. London: Grub Street, 1992. ISBN 978-0948817540.

Franks, Norman, Hal Giblin and Nigel McCrery. ''Under the Guns of the Red Baron: Complete Record of Von Richthofen's Victories and Victims''. London: Grub Street, 2007, First edition 1995. ISBN 1-84067-145-9.

Grey, Peter and Owen Thetford. ''German Aircraft of the First World War''. London: Putnam, 2nd ed., 1970. ISBN 0-93385-271-1.

Guttman, Jon. ''Pusher Aces of World War 1'' (Aircraft of the Aces #88). Oxford, UK: Osprey Publishing Co, 2009. ISBN 978-1846034176.

Kilduff, Peter.'' The Red Baron: Beyond the Legend''. London: Cassell, 1994. ISBN 0-304-35207-1.

McAllister, Hayden, ed. ''Flying Stories''. London: Octopus Books, 1982. ISBN 0-706401734-8.

O’Connor, Neal W. ''The Aviation Awards of the Grand Duchies of Baden and Oldenburg Foundation of Aviation World War I: Aviation Awards of Imperial Germany in World War I and the Men Who Earned Them – Volume VI.'' Stratford, Connecticut: Flying Machines Press, 1999. ISBN 0-76431-626-5.

Preußen, Kriegsministerium, Geheime Kriegs-Kanzlei. ''Rangliste der Königlich Preußischen Armee und des XIII.'' Berlin: Ernst Siegfried Mittler und Sohn, 1914.

Robertson, Bruce (ed.) ''von Richthofen and the Flying Circus''. Letchworth, UK: Harleyford, 1958.

Robertson, Linda R. ''The Dream Of Civilized Warfare: World War I Flying Aces and the American Imagination''. Minneapolis, Minnesota: University Of Minnesota Press, 2005. ISBN 978-0816642717.

Von Richthofen, Manfred. ''The Red Baron''. Norderstedt, Germany: BOD, 2008 (reprint). ISBN 978-3-8370-9217-2.

Von Richthofen, Manfred. ''Red Fighter Pilot: The Autobiography of the Red Baron''. St Petersburg, Florida: Red and Black Publishers, 2007 (reprint). ISBN 978-0-9791813-3-7.

Wright, Nicolas. ''The Red Baron''. London: Sidgwick & Jackson, 1976. ISBN 0-283-98298-5.

;Concerning death

Allmers, Dr. Henning. "Manfred Freiherr von Richthofen's Medical Record: Was the "Red Baron" fit to fly?" ''Lancet'' 1999, 354: pp. 502–504.

Day, Mark. "Unsung No.1 with a bullet – World War I ace Manfred von Richthofen seems to have met his match in an Australian gunner." ''The Australian'' News Corporation, 30 April 2007. Retrieved: 30 April 2007.

Franks, Norman and Alan Bennett. ''The Red Baron's Last Flight: A Mystery Investigated''. London: Grub Street, 2007, First edition 1997. ISBN 1-90494-333-0

Miller, Geoffrey. "The Death of Manfred von Richthofen: Who fired the fatal shot?" ''Sabretache: Journal and Proceedings of the Military History Society of Australia'', Vol. XXXIX, No. 2.

Titler, Dale. ''The Day the Red Baron Died''. New York: Ballantine Books, 1970. ISBN 0-345-24923-2.

External links [link]

''NOVA'' "Who Killed the Red Baron?"

An English translation of the account of Bolko v. Richthofen's journey to retrieve Manfred's body

Image of exact replica of Richthofen's Fokker DR-1

Website dedicated to Der Rote Kampffleiger aka The Red Baron

Complete text of ''The Red Fighter Pilot'' by Manfred von Richthofen at The War Times Journal

Combat record

Footage of the reburial of The Red Baron in 1925

Historic footage of Manfred von Richthofen posing and conversing with fellow pilots, circa 1917.

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