For generations, braided hairstyles have been a cornerstone of Black culture, symbolizing everything from social status and kinship to personal expression and resilience. The use of synthetic braiding hair has made these protective styles more accessible and affordable than ever. However, in recent years, a growing number of women have reported concerning reactions to the hair, leading to urgent questions about its safety.

This article delves into the potential health impacts of synthetic braiding hair, examining the ingredients, the reported issues, and the crucial recommendations for making safer choices.

The Problem: More Than Just Itchy Scalp

While a little itching when first installing braids is common, many Black women report symptoms that go far beyond mild irritation. These can include:

• Severe Scalp Dermatitis: Intense itching, redness, swelling, and flaking.
• Bumps and Blisters: Painful, pus-filled bumps (folliculitis) along the hairline and parts.
• Hair Loss: Traction alopecia from the style’s tightness, compounded by inflammation that can weaken hair follicles.
• Scalp Burns and Sores: A sensation of the scalp “burning” or “crawling,” sometimes leading to open sores.
• Allergic Reactions: Swelling of the face, eyelids, and ears.

These reactions are not just anecdotal. A 2022 study published in the Journal of the American Academy of Dermatology identified a specific pattern of allergic contact dermatitis directly linked to synthetic braids, dubbing it the “Kanekalon phenomenon,” after a popular brand of braiding hair.

The Culprits: What’s in the Hair?

Synthetic braiding hair is typically made from modacrylic, a polymer derived from acrylonitrile and vinyl chloride. The hair itself is not the only concern; the chemical coatings and dyes used to give it a more natural look and feel are often the primary triggers.

The main suspects causing adverse reactions are:

1. Formaldehyde: Perhaps the most alarming ingredient. Formaldehyde or formaldehyde-releasing preservatives are sometimes used in the coating of synthetic hair to prevent mildew during shipping and storage. Formaldehyde is a known sensitizer and a Group 1 carcinogen, meaning it is proven to cause cancer in humans. Direct, prolonged scalp contact can cause severe allergic reactions and skin irritation.
2. Acrylates: These plastics are used to seal the ends of the hair when you dip them in hot water. They are also common allergens and can cause significant contact dermatitis.
3. Dyes and Colorants: The vibrant colors of synthetic hair come from dyes that can contain heavy metals or other chemicals that some individuals are sensitive to.
4. Plasticizers: Chemicals added to make the plastic fibers more flexible can also leach out and irritate the skin.

The Cancer Question: Are Synthetic Braids Carcinogenic?

This is the most serious concern. The direct answer is: There is no conclusive scientific evidence that wearing synthetic braids causes cancer.

However, the concern is not unfounded and stems from the ingredients:

• Vinyl Chloride, a component of modacrylic fiber, is a known human carcinogen.
• Formaldehyde, sometimes found as a contaminant, is a known human carcinogen.

The critical distinction is between ingestion/inhalation and skin contact. The cancer risks for these chemicals are primarily associated with long-term, high-level inhalation (as seen in factory workers) or ingestion. The risk from dermal (skin) absorption through the scalp is considered significantly lower and not well-studied.

While the risk of developing cancer from occasional braid wear is likely very low, the potential presence of known carcinogens in a product worn on the head for weeks at a time is a valid cause for caution and demands greater transparency and regulation.

Recommendations for Safer Styling

You don’t have to give up braids entirely. Informed choices and proper practices can dramatically reduce the risk of a reaction.

1. Pre-Installation: The “Prep & Test” Ritual

• WASH THE HAIR: This is the single most important step. Before installation, soak the synthetic hair in a mixture of apple cider vinegar and water for 15-30 minutes, then rinse thoroughly. Follow this by washing the hair with a clarifying shampoo to remove surface chemicals, dyes, and residues. Let it air dry completely.
• CONDUCT A PATCH TEST: Tape a small strand of the washed and dried synthetic hair to the skin behind your ear or on your inner arm. Leave it for 24-48 hours. If you see any redness, itching, or swelling, do not use that hair.

2. Smart Shopping: Choosing Better Hair

• Look for “Hypoallergenic” Brands: Some brands now specifically market themselves as free of formaldehyde and other common irritants. They may be more expensive, but your health is worth the investment.
• Opt for Sealed Packages: Hair sold in sealed packaging is less likely to be contaminated with dust, mold, or other environmental irritants compared to bulk, open-hair.
• Consider Human Hair or Heat-Friendly Synthetics: While more costly, human hair braids eliminate the risk of synthetic chemical reactions. “Heat-friendly” synthetic hair often has a different coating that may be less irritating, though it should still be washed.

3. During and After Installation

• Communicate with Your Stylist: Advocate for yourself. Ensure your stylist does not braid too tightly, as this can cause traction alopecia and force the hair fibers deeper into irritated follicles.
• Moisturize Wisely: Use a light, water-based moisturizer on your scalp and natural hair. Avoid heavy oils and butters that can trap bacteria and residue against the scalp.
• Don’t Wear Styles Too Long: 6-8 weeks is the general maximum. Wearing braids for longer increases the risk of buildup, matting, and prolonged exposure to any remaining irritants.
• Listen to Your Body: If your scalp is burning, intensely itchy, or developing painful sores, do not “tough it out.” Take the braids out immediately and consult a dermatologist.

Conclusion

Synthetic braiding hair is a cultural and practical staple, but its potential health impacts cannot be ignored. While not definitively cancer-causing, the presence of harsh chemicals and known allergens poses a real risk for severe skin reactions.

The power lies in informed consumerism. By demanding cleaner products from manufacturers, washing hair before use, and listening to our bodies, Black women can continue to celebrate the beauty and convenience of braided styles without compromising their health. The choice to wear braids should be one of empowerment, not one that leads to pain and distress.

The specter of economic protectionism has once again been cast over the global film industry. Recently, former U.S. President Donald Trump resurrected a familiar theme, floating the idea of a “100% Tariff” on any movie that’s “made” outside the United States. While light on details and legally complex, this kind of saber-rattling sends a chill through the Canadian film and television sector, an industry inextricably linked with its southern neighbor.

For Canada, this isn’t a hypothetical debate about abstract trade policy; it’s a direct threat to a multi-billion dollar industry and tens of thousands of jobs. The vague description of what constitutes a film “made” outside the U.S. is precisely what makes the threat so potent—it could be interpreted in a way that devastates the core of Canada’s production model.

The Canadian Reality: More Than Just a “Backlot”

To understand the impact, one must first understand the structure of the Canadian industry. It operates on two primary tracks:

1. Service Production: This is the backbone. American studios and producers bring their projects—from blockbuster superhero films to beloved TV series—to shoot in Canadian cities like Vancouver, Toronto, and Montreal. They are drawn by competitive costs, a skilled workforce, favorable exchange rates, and diverse locations. The production is American-funded and American-distributed, but it is physically “made” in Canada.
2. Domestic Production: This includes distinctly Canadian stories, funded by a combination of broadcasters, government agencies like Telefilm Canada and the Canada Media Fund, and private investment. These are the films and shows that tell Canadian stories, but they often rely on the infrastructure and talent pool sustained by the service production sector.

The two are symbiotic. The revenue and stability from high-budget American service work fund the studios, pay the crews, and support the VFX houses that make domestic productions viable.

The Potential Impact of a 100% Tariff

If implemented, a 100% tariff on films “made” in Canada would be catastrophic for the service production sector. The economic rationale for American studios to shoot in Canada would vanish overnight.

• The Immediate Exodus: A project with a $100 million budget would instantly see its U.S. distribution costs double to $200 million. Studios would not absorb this cost; they would simply move production back to the U.S. or to other non-tariffed countries like the UK, Australia, or Eastern Europe.
• Economic Collapse: The direct economic contribution of foreign production to Canada is in the billions annually. A 2022 report from the Canadian Media Producers Association (CMPA) noted that foreign location and service production spending in Canada reached $4.5 billion in 2021/2022. This activity supports a vast ecosystem of crew, actors, caterers, drivers, and hospitality workers.
• The “Brain Drain” Accelerates: Canada’s greatest asset is its deep pool of talented, experienced film professionals. If productions leave, so too will the talent. Directors, cinematographers, special effects artists, and carpenters would be forced to follow the work south, permanently hollowing out the Canadian industry.
• Domestic Productions Suffer: With the service sector gutted, the infrastructure costs for domestic productions would soar. Soundstages would close, equipment rental houses would shutter, and it would become prohibitively expensive to produce high-quality Canadian content. The entire production ecosystem would shrink dramatically.

A Call to Action: How Canada Can Adapt and Fortify Itself

While the threat may be political posturing, it serves as a stark warning against over-reliance on a single, volatile partner. Canadian film production companies and distributors cannot afford to be passive. They must act now to adapt to this new reality.

For Film Production Companies:

1. Diversify Co-Production Partnerships: Aggressively pursue official co-productions with countries beyond the U.S. Canada has co-production treaties with over 50 countries, including major players in Europe and Asia. By partnering with producers in the UK, France, Germany, Australia, and South Korea, Canadian companies can create globally-oriented content with built-in international distribution and funding, making them less vulnerable to U.S. policy shifts.
2. Double Down on IP Ownership: The most significant shift must be a strategic move from being a “service provider” to being an “IP creator.” Canadian producers must focus on developing, financing, and owning their own intellectual property. A Canadian-owned hit show or film, like Schitt’s Creek, generates far more long-term value than hosting a dozen American service productions.
3. Leverage Digital Distribution: Use streaming platforms to bypass traditional gatekeepers. By creating high-quality, distinctive content with international appeal, producers can sell directly to global streamers or use platforms like YouTube, Vimeo, and specialized streaming services to build an audience worldwide.

For Film Distributors:

1. Build New Export Pathways: Distributors must become experts in non-U.S. markets. This means attending film markets in Berlin, Cannes, and Busan with a focused strategy to sell Canadian content into Europe, Latin America, and Asia. Building relationships with broadcasters and streamers in these regions is crucial.
2. Champion Canadian Stories with Global Appeal: Distributors have a role in curating and marketing Canadian films that travel well. Stories with universal themes—human drama, thrillers, comedies—can find audiences everywhere if marketed correctly. The success of films from Quebec in France is a prime example of this potential.
3. Advocate for Modernized Government Support: The industry must collectively lobby the federal and provincial governments to modernize support mechanisms. This includes:
   • Increasing the funding and flexibility of tax credits to support IP development, not just physical production.
   • Strengthening public broadcasters (CBC/Radio-Canada) and ensuring they have the mandate and budget to commission ambitious Canadian content.
   • Negotiating and modernizing trade agreements that protect and promote cultural exports, recognizing film and TV as a key economic and cultural sector.

Conclusion: A Wake-Up Call, Not a Death Knell

Donald Trump’s tariff threat is a stark reminder of the fragility of an industry built on a foundation of service work. While the immediate implementation of such a policy remains uncertain, the risk is too great to ignore.

For Canada, this moment must serve as a catalyst for a long-overdue strategic pivot. By aggressively diversifying international partnerships, fiercely championing the creation and ownership of Canadian IP, and building robust, direct pathways to global audiences, the industry can transform this vulnerability into resilience. The goal is not to end the relationship with Hollywood, but to ensure that the Canadian film industry can stand on its own two feet, telling its stories to the world, no matter who occupies the White House. The curtain is rising on a new act for Canadian cinema; it’s time to ensure the show goes on.

His keen interest in music and dance made him teach himself both the arts and he declares that Micheal Jackson was his role model. He also participated in the local church choir and local talent shows. His perfection in mimicry of an Usher performance made his mother realize his potential and she started looking for a record deal opportunity.

Chris Brown’s Voice Type & Vocal Range

Chris Brown has a light Lyric tenor vocal style. His vocal potential was first discovered by his mom when he was still a kid. Brown reveals to People magazine that he was 11 and watching Ushers performance ‘My Way’, and I began endeavoring to impersonate it. My mother resembled, ‘You can sing?’ And I resembled, ‘Well, no doubt, Mama.” in this way, and began to sing.

Voice Type: Light-Lyric Tenor
Range: E2-E5-G#5

Chris Brown’s voice sits high up. He has relative easiness in the fifth octave (Yeah 3x, This Christmas, Crawl). The strain really makes it difficult for him to sing there, yet he does not have much of a problem. He likewise sings to be a baritone in the E4-G4 range effortlessly.

Not so sure where this originates from, yet I have seen it many times previously. In fact, He is brighter and lighter than the spinto. Due to the fact that the spinto will have a more substantial, warmer and substantial voice. Chris’ voice is awfully splendid and light to be a spinto.

He has a light and thin voice. His voice is additionally surprisingly energetic. Thus he should be a light-verse tenor.

Achievements

At the tender age of sixteen, Chris Brown made his debut with an album titled “Chris Brown” featuring the runaway hit single “Run It”. This song topped the Billboard Hot 100 in 2005 making him the first male artist whose debut song topped the chart after Montell Jordan had achieved the same in 1995. The RIAA  (Recording Industry Association of America) awarded the album a double-platinum certification and it sold more than 2 million copies in the US.

Riding on this success Chris Brown, American recording artist released his second studio album in 2007 November titled “Exclusive”. This album had two hit singles “Kiss-Kiss” featuring T-Pain and was number one and “With You” which became number two in the Billboard Hot 100 and was awarded a Platinum certification by RIAA. “The Forever edition” which is a deluxe version of his album with the single “Forever” was released in 2008 in May and this also peaked at number two position in Billboard Hot 100. “Graffiti” his third album was brought out in 2009 December and its official single “I Can Transform Ya” came up to number 20 in the Billboard Hot 100 becoming Chris Brown’s eighth hit on the charts.

Brown has other hits under his belt such as “No Air” with Jordin Sparks, “Shawty Get Loose” with Lil Mama and T-Pain, “Shortie Like Mine” with rapper Bow Wow all of which reached within number ten in the Billboard Hot 100. His dancing capabilities gave him an extra edge over other singers and he was compared to Micheal Jackson and Usher. On the negative side, Brown was given five years probationary sentence and 6 months community service for assaulting singer Rihanna. In 2010 May Chris Brown American recording artist brought out “Fan of Fan” a mixtape with Tyga and “Deuces” from this tape was released in 2010 June reaching the number one position in the U.S.

Musical Style & Influences

Chris Brown has referred to various artists as his motivation, overwhelmingly Michael Jackson. Chris Brown underlines that “Michael Jackson is the motivation behind why he involved himself in the music industry at the beginning of his music career. In “Fine China,” he represents Jackson’s impact both musically and outwardly as Britini Danielle of Ebony magazine mentioned that the melody was “reminiscent of Michael Jackson’s Off the Wall”.

And He also did mention that Usher is another role model in the music industry who seems to be a more contemporary figure for Brown. He discloses to Vibe magazine about Usher that he was the person who the youths gazed up to, in the singing and dancing world, admired him, and keeps up “If it was not for Usher, at that point Chris Brown couldn’t exist.”

Some critics suggested that Chris Brown’s first experience with R&B, perceiving his contemporary adaptions and flexibility in R&B music. As customary R&B prospered around him, the youthful singer started the development of the genre”. His first single “Run It!” as a “prelude to what Brown would keep on doing for the following decade: determinedly upset develops of blues and rhythm.

Renaissance has been described as having “fierce club energy”, “a joyous soundtrack to a hot girl summer” and being an “endless party”.

The Telegraph predicted it “will be filling dance floors for years to come”.

Writer James Hall says it is “a tribute to two forms of music: late-1980s and early-1990s house, and disco.

“It is peppered with sounds that anyone watching reruns of Top of the Pops from that era on BBC Four will be instantly familiar with,” he wrote.

Thanking fans for not listening to a leaked version, Beyoncé wrote online: “I appreciate you for calling out anyone that was trying to sneak into the club early.

“It means the world to me. Thank you for your unwavering support. Thank you for being patient.”

The Guardian gave the track list of 16 songs four out of five stars, describing it as “unapologetically escapist” where the singer “unleashes everything from disco bangers to global house hedonism”.

Tara Joshi wrote: “Beyoncé was never going to make a corny ‘live, laugh, love’ record, and her rebirth finds her in the role of siren luring us to the dancefloor.

“It’s a celebration of living abundantly and outside the realms of others’ expectations, and acts as a reminder of how rare it is to witness this hyper-disciplined artist simply having fun on her own terms. “

However, Joshi believes the release “falls short of being Beyoncé’s best full-length”.

Pitchfork’s Dylan Green claims it’s “the most unabashedly fun new Beyoncé record since 2006’s B-Day”.

He describes Beyoncé as “one of the only living musicians who can stop the world with new music” who has put out an album with a “staggering amount of talent in one place” – referring to collaborations with Grace Jones, Skrillex and Drake.

“Her chants of ‘the category is…’ and other language used within ball culture and queer communities also stand out in the music,” he wrote.

“Dance music of all stripes was built by queer artists, and that history hovers through.”

Renaissance is the first instalment of a three-album project recorded during the pandemic.

“Creating this album allowed me a place to dream and to find escape during a scary time for the world,” Beyoncé wrote on Instagram.

“It allowed me to feel free and adventurous in a time when little else was moving”.

Rolling Stone’s critic Mosi Reeves notes “every song is an uptempo track that has the potential to joyously redefine dance floors, living rooms, and car singalongs in 2022 and beyond”.

He says it is the first record from Beyoncé in nearly 20 years “to completely omit” ballads from the track listing – referencing some of her previous hits such as Halo and Irreplaceable.

“This is an album about letting go and having a good time,” writes Will Hodgkinson in The Times, saying the superstar “appears to have discovered the sweaty, messy world of club culture” for the first time.

“Beyoncé, whose singing is as dynamic as it has ever been, has replaced overthinking with disco grooving,” he said.

“It doesn’t seem like a bad way of dealing with the age of anxiety.”

TVM: Today I have the distinct privilege of speaking with a Sister lighting up the opera stage Soprano Angela Brown. How are you today?

AB: I am fine thank you for having me

TVM: Thank you so much for speaking with us we really appreciate it. Before we get into your voice, and your opera, from a sister’s point of you how exactly did a “SISTA’S” gravitate towards opera?

 AB: You know I always say that opera chose me, I did not choose it. I’ve always sung I started out singing in my gran father’s Baptist church, and as I got older, I started doing a lot of musical theatre and other genres of music but, classical music was the last thing I picked up. When I went to Oakwood University in Huntsville Alabama my teacher there said you know you can do this for a living. And so as I began to learn the technique I took to it like a duck to water! It was nothing! It was very easy for me. The challenges have been as I’ve gotten older and I get more and more use to my technique, not staying in something that I was use to but growing with it. That’s a challenge for every singer, is to grow with their instrument, and not just rely on what was easy in the beginning but to always keep cultivating and making it better. So I always say opera choose me I didn’t choose it because I sang so many other genres it was the last thing, and people wanted to pay me.( she laughs..)

TVM: My parents are CNN junkies, so I often get stuck in there web, I do recall seeing a segment with Tony Harris.

AB: Yes

TVM: “What matters”, and you were on there, can you just elaborate a little bit for our readers.

I did a segment with Tony Harris about opera from a sister’s point of view. It’s a show that demystifies opera for audiences that normally would not go. When I first started doing the show, my first idea was I wanted to bring it more to my people, people of color because when I was out on the opera stages of the world there were mainly monochromatic. It was a bunch of white folks looking at me. And I was like… Where are the people of color? When I was younger, I know that I had the opportunity to go to a lot of symphony concerts, ballets, and things like that. Now a day’s they’ve cut so much music out of the schools kids don’t even know who Lya/Tya Price is, and she ain’t that far in the back. So I wanted to start the show to let my people know (she laughs) that we too can do this. But as I began to do the show honey…)I found out that white people don’t like opera either, so it’s become about embracing opera. It’s an art form that you will find yourself in there are African operas I don’t care how many people you paint up.  Ieda it’s an African opera! Egypt and Ethiopia are in Africa I claim it honey…) You have African American operad “Porky and Bess” You have Asian operas Madam butterfly and Turindo. You have Italian operas Natasko, and that list goes on. Hispanish operas like Carmen. You will find yourself an opera it’s just a matter of trying it. Don’t say you don’t like a mushroom until you’ve had a mushroom. At least go and enjoy the art form. So that’s why I started opera from a sister’s point of view and that’s what Tony and I were talking about on CNN.

TVM: I enjoy the fact that you seem to take a lot of care in infusing the youth and to educating everyone about opera Kudos to you for that. When I hear you sing for me it’s like what I would imagine heaven to be like. If you could describe your voice, how would you describe it?

AB:  Oh Wow! It’s funny that you would ask me this questions cause I was listening to myself sing on some recordings. My very first recording on to this last recording I just did. I just listened and I hear the development and I would say that my voice if I can encompass everything that I’ve heard over the years, I would say I have an even smooth middle with high spinning sparkly tops. And a very rich low gewy chewy delicious bottom register. It’s like a piece of Godiva chocolate that melts in the pit of your mouth. That’s my voice.

TVM: Who were some of your vocal inspirations growing up?

AB: I did not come to classical music till I was 21 which was 2 days ago. (She laughs)

I would say growing up, some of my big influences were, Gladys Night, Natalie Cole. When she first came out with that 1975 album “In separable” child…. She was my girl! Then we go to broad way and it was Jennifer Holiday. (she’s singing  Your gonna  love me )On the male side it’s Stevie Wonder, James Ingram, Jeffery Osborne then, can’t leave out Mr. Luther Vandross. Group wise there was Earth Wind and Fire, The Commodores. For gospel it’s Milton Brunson the Hawkins family, the Winans, the Clark sisters. I believe  in building a voice you have different influences, and I believe also, that is one of the reasons why I am sought after because I can fit so many bills just because I never let go of all my influences it’s all a part of making up me and my voice because when it comes to classical music I tend to go towards the voices that are not  necessarily so sterile sounding, they are more beauty, and they are more Bellecanto they are singing the meaning of the words like Maria Culluses, and Latin prices who is my biggest influence. Jessie Norman, Kathleen Battle. The Giozati  who was teacher. To have all of those influences in the same sloop, The same stew that I came out of which was a heavy R&B gospel thing, and then to put that it’s just going to make me a more well-rounded singer.

TVM: Do you have a vocal routine? If yes can you tell your readers about it?

AB: When I am preparing I might do some humming, vocalise, and some listening but if I don’t have anything of the essence to prepare for, I’ll do light stuff, and I’ll teach. But when I am ready to prepare for something, like I’m getting ready to go to Calgary to do Tulsca, I’m going to go over the music with my coach or an accompanist just to make sure I have everything, and  that the Italian is clean. So that’s my routine it is very light until I get closer to the actual job, and then I will train more. When I learn a new role that’s a different process, you go through the first three months just adapting to the role in your voice, and listening and getting it into your body with your ear orally. I always listen orally first even if I lean the mistakes I can always go back and then when I get with my coach they break down the rhythms, and the language, and I would rehearse it till I memorize it.

TVM: Speaking of the different languages, because you perform in various languages I am curious to know if you speak any of them?

AB: Well you know I get around with a first person Italian (she laughs) I married a French man and he speaks fluently, French, English and Italian. So I’m not fluent In French, no- where near it but I can get around.

TVM: People have these miss conceptions of how physical it is for an opera singer, and I was just wondering if you find a connection between vocal workouts and physical work-outs?

AB:  Yes! You know when you don’t have breath, you don’t have voice. And if you are not doing something to raise your heart rate, and sing along…) I don’t choose to run or jog, I choose to walk or ride a bike. There are a whole lot of things to do then hurting my knees… child( she says jokingly) you have to keep your physical-self up. I always know when I have not done enough because I know I don’t feel my breath as well you don’t feel your support as well.  Doing sit ups and crunches just to keep connected to that core. Helps!!

TVM: Does what you eat affect your voice for the positive or the negative?

I stay clear of anything creamy/dairy.  I get ready 3 hours before the curtain so I’m going to eat some chicken soup or a salad maybe a sandwich.  I stay away from anything that will cause your saliva to thicken I stay away from. And that could be orange juice, raisins, bananas, (she says I hate bananas… and laughs). Smoothies there fine and some bread, there fine too. I’m going to give it to you straight grapes fruits, apples, apples are wonderful, warm temperature apple juice is great because it is as closes to saliva, because water can actually dry you out a little bit. Yeah! Hydrate! Hydrate! Hydrate! Drink a lot of water but during the show, because apples juice will also produce saliva, it helps you more.

It makes you salivate.                                                                                                             

TVM: What time of day do you feel vocally at your best?

AB: I feel vocally at my best around 4:00 or 5:00 on through to midnight, then I’m ready to shut it down, but you know I do what I have to do but I am at my vocal prime around 4:00 in the afternoon those are the diva hours (she laugh).

n this question, because I believe a lot of singers have passion and pride about themselves, they have standards, they have morals. There are a lot of singers out there that live for the craft, but don’t live for the craft that they are willing to sacrifice their souls for it ain’t that deep. To say that I am different, I don’t know I have to let whoever is doing the listening answer that question, because for me personally I am a working singer so I never see myself as a big “I” or a little “u” or anything. I am God’s child, I am a working singer, and I’m blessed.  Ain’t nothing lucky about Angela Brown this is all blessings, God’s got me all the way.

TVM: Which do you prefer recording in the studio or performing live?

AB: You know it depends, because I’ve done a live recordings and I’ve done a studio recording and I have to say that I like the studio a little better because I can make all the stuff that didn’t go well in performance right. I love being on stage, I love doing what I do. But I like recording! Give me some shine, some shade, some reverb, turn it up (she laughs).

I have a new CD coming out it’s a compilation CD Richard Daniel pour did a song cycle for me and Dr. Mia Angelo wrote the Lebreto, and its called a women life it will be released on (Knoxso records)Richard Danielpor’s  it’s with the national symphony there are 3 pieces Darkness in the ancient valley, A womens life, and Lacre men…… It will be realised on September 26 2014.

TVM: What advice can you give to up and coming artist?

Never let anyone determine what success will look like for you, because every bodies success will be different. Everybody is going to have a different way to achieve it. And it’s interesting that you said that it is hard to break through in to the music industry. If you think of breaking something you already put a barrier in front of yourself. So take the limits off because God is limitless! It is hard for us to think in infinite terms when we have finite minds. So don’t let anybody determine what success will look like to you. And If you are singing you are in the industry it’s just a matter of getting in front of the right people. SO if you are singing and doing it well, somebody is going to hear you. When an opportunity presents its self, open your mouth there is nothing to big or to small and it cannot always be about the dollar neither can it be about never getting the dollar. However sometimes it’s about the exposure or for your own personal enrichment.

What I tell all the young people that I do master classes with is If this is your passion if you wake up, you eat and sleep this, and you know that you can do this, stick with it. There is no harm in being a star where you are. When I won the met competition in 97 I use to go around and tell these young people if you want to go to the met  all you have to do is believe it, and you can do it.my mom one day said Angela stop telling that lie ( she laughs) I said why Momma!? She said; It’s not meant for everybody to sing at the Metropolitan Opera. It’s not necessarily their testimony or their destiny in life. So what I say now is why can’t you be a star were you are not everybody can’t sing at the Met. If it’s not going to be on a national stage, maybe it will be regional. Maybe it may be just right in your state, in your church, or your denomination. In a nut shell, you have to want this that means not putting things in your way that’s going to hold you down, or hold you back.

TVM:  What is you ultimate goal when you perform, what do you want your fans to take away from your performance?

When I signed my contract my ultimate goal is to get my check, and pay my bills But in getting my check and paying my bills, I must be worthy of my check. So I want to give a good performance I want to give a performance where they feel full.  They be like dammm… that girl can do anything! Because I always want to keep those doors of other opportunity I’m a business women too. I want to give my fans flavors there is so much in me and so many roots from different genres of music. If I don’t share some of everything I am I feel like it’s a disservice so I’m giving you some spirituals I’m giving you a little taste of gospel with a little bit of R&B you know and of course the heavy classical stuff but! I’m going break it down with a little humour I’m going to talk to you.

Well, Jo-Na A. Williams will tell you, there is no such thing as an overnight success. Vocal artist turned successful attorney, specializing in entertainment and all things creative, Williams empowers her clients with the formula for achieving success and finally realizing their dreams.  According to Jo-Na, there are 4 essential pieces to being a star:

Vision, Dedication, Opportunity and Business Savvy. 

You must possess a clear vision of what you want and how you are going to make your dreams a reality.  Williams believes that “it puts you in line with what you want and creates the connection between your desires and the steps you will take to achieve them.”  The next piece involves dedication to your craft.  You have to keep learning and perfecting your craft in order to shine amongst a sea of equally talented people; you have to acquire a strong work ethic.  Remember, if it is important to you, you will find the time to do it.  The third piece to being a star is to create your own opportunities.  You have to step out of your comfort zone and take pride in your talent and share it!  The eventual goal is probably worldwide domination, but Williams suggests starting small within your community.  Begin to build a following where you live.  The last and, possibly, the most important piece to Sash Fierce-dom, is to become business savvy.  Protect yourself and your work by learning the law inside and out.  Apparently, there are people who actually go to school for years to learn the law, they are called lawyers, hire one.  Far too often, individuals have stars in their eyes and nothing in their heads.  Knowledge is power people, educate yourselves.    

At its core, Williams’ blueprint acts as a guide and testament to the reality that nothing good in life is gained without believing in yourself, hard work, not being afraid to hear ‘no’, and having an understanding of  the business that you long to become a part of.  Williams provides you with the tools and it is now up to you to empower yourself and make it happen.

For a singer, eating right is a balancing act.

5 BEST FOODS FOR SINGING

1. Water – Dehydration is a singer’s worst nightmare. Dry vocal cords are less flexible and more susceptible to damage.  The vocal folds are one of the last places in the body to get hydrated. So you can’t moisten your throat (from the inside) until you have consumed enough water to hydrate all of your vital organs. 

2. Veggies & Fruit – Singers pile their plates full of green leafy vegetables. These help the body shed toxins and fight diseases. For optimal vocal performance, Aaron Lim, author of Your Personal Singing Guide, recommends fruits and vegetables rich in Vitamins A, C & E. You can select raw foods packed with nutritional value; before singing, drink a green smoothie with kale or chard, juicy fruit, flax seeds, dates and water. 

3. Protein –  Just like athletes, singers need protein to maintain their strength and stamina. Many singers like fish and poultry, because they are high in protein but low in fat. But a couple of the singers in my survey reported needing iron-rich red meats on the day before a performance. Vegetarian singers prefer protein shakes and energy bars.

4. Small “Combo” Meals – Many singers eat a small meal about two hours before the curtain goes up. They can’t afford to get dizzy onstage, so they avoid sugary and starchy foods that could spike their blood sugar. They also balanced their proteins and carbs.  Favorite meals included salmon and salad, eggs and toast, or chicken and rice.

5. Vocal “Lubricants”– Food and water never come in direct contact with the vocal cords. But there are some snacks that stimulate saliva production, bringing relief to singers who suffer from “dry mouth.”  These include apples, lemons, hard candy and ginger tea.  If you’re feeling hoarse or scratchy, a spoonful of honey will soothe your throat and fight off bacteria.

5 WORST FOODS FOR SINGING

1. Alcohol – Many people only sing in public if they’re tipsy, but opera singers finally stop singing when they drink.  Here’s why: alcohol causes the tissues in the larynx to swell, reducing vocal control.

2. Heavy Foods – Singers avoid fatty foods, greasy foods, and anything that might give them gas. Remember that food is fuel, but don’t overtank! Singing depends on good breath management. If you eat too much, your digestive system will slow down and your abdominal muscles will relax and you’ll find it harder to support your air.

3. Caffeine – Caffeinated drinks steal moisture from the body. Also remember that caffeine is a real drug and it can hype you up. Performing is exciting enough by itself; you don’t want to flood your body with caffeine and adrenaline.

4. Spicy Foods – Garlic and other spices are fantastic for the immune system, but they are hard on the vocal folds. They can also irritate the stomach, causing acid reflux. You’ll also want to avoid foods with nuts or small particles that could get lodged in your throat.

5. Milk – Dairy products have been linked to sinus infections. To a singer, there is nothing worse than having a raging infection in the ears, nose and throat. For many years, we were taught that drinking milk actually produced phlegm.  This turns out to be a myth, and yet some singers do get congested when they use milk products.

It’s best not to be too neurotic about what you eat. Anxiety does not help you sing better. But clearly, food plays an important role in the singer’s life.  If you want to stay in peak vocal condition, you need to choose your meals wisely.

But the point is: a good visual piece of art to accompany your music is accessible for various different budgets. Without going too conser- vative or too over the top, here are some important things to consider, and a sample budget to help you plan for your first music video

1. Location

The most important thing to consider when doing a video is the concept and how it relates to the loca- tion you choose to shoot at. Most videos are shot at a professional soundstage, or alternatively, shot some- where on location, though it should be noted that you cannot just film anywhere. You can’t really shoot in public places, especially since you’d need to avoid getting any random passersby in shots (you’d need releases for any faces that ended up on camera), and filming on private property also isn’t quite legal with- out the permission of the space owner. So your op- tions are to either film by the “shoot and scoot” meth- od and run around for the day hoping to not slip into any of the previously mentioned pitfalls, or consider going through the process of obtaining permits for all desired locations. If you’re doing the latter, plan far in advance for that, as it could take some time to get those in – and even then, you should definitely have a backup plan in place if something doesn’t work out.

2. Extras

Though we all have a handful of family and friends that would be down to play a part in our music video, sometimes they’re not all the right fit for the concept, and other times, you’ll find yourself at the mercy of human nature: people not showing up on time, not being dressed properly, lack of professionalism, etc. All of these things are normally stuff you could deal with in real life, but when you’re in a time crunch and footing the bill, you’ll see how quickly those little “quirks” your best friend has will get old. Consider the option of hiring some extras to avoid any issues the day of. You can hire out people you know to ensure that they’ll be prepared for the occasion, or bring on some green actors/models from local agencies as needed.

3. Director, producer, and staff

These are definitely the most important decisions, since the people you choose to hire will make or break your music video. For the kind of money that has to be spent for something like this, it’s worth it to make sure these people have some level of credentials and suc

cessful track records before signing deposit checks. Make sure you’ve vetted the director’s work, and that he or she has experience in the style you’d like to use to create your work . Check out your producer and any other related staff that would be brought on board to ensure that your investment will be in good hands.

4. Props and supplies

Make sure those last-minute items don’t actually end up last minute! Here are some of my favorite day-of woopsy-poopsies that people often overlook:
• tape

• hairspray
• phone charger
• clothing accessories
• manicure kit
• umbrella
• change of clothes
• set props being brought from home • checkbook
• bottled water
• fan
• jacket
• extra makeup
• pen/paper
• portable music speaker

Don’t let a minor issue become a major problem due to lack of preparation. It’ll end up costing you big time in the end!
As a starting point to help you better understand the costs involved, here’s a sample budget for a middle- of-the-road music video:

Sound stage $500 Extra actors $500 Director $2,000 Producer $700

Camera operator, grips, PAs, and other camera/sound staffing$1,800

Hair and makeup $500

Wardrobe
Set designers and assistants Props and supplies Meals and travel
Video editing, animation, and compositing

$500
$1,000
$300
$250
$1,500
Total: $9,550

1. Make sure your brand image accurately portrays your music and personality. If you’re a biker band, you probably don’t want a website that’s all pink and flowery. On the other hand, the pink works great for Katy Perry. Likewise, if you’re an EDM artist you wouldn’t want your site to show the woods and trees, although that could work well for an alt rock band from Minnesota or someone doing music for meditation.

2. Keep it honest and simple. Don’t try to be who you’re not, it’s too hard to pull off. You are who you are and people will either love you for it or they won’t. While you can concoct a backstory where you were taught a new form of music by aliens, then honed your technique in the jungles of Brazil, that just sets your brand up to fail if you really can’t live up to the image that’s been painted. Best to keep things simple and be honest about who and what you are and where you came from. If people like what you do and can relate to you, that will shine through and your fans will not only find it interesting enough, but will be totally fascinated as well.

3. Differentiate yourself. While it might seem tempting to proclaim that you’re just like Coldplay, that doesn’t immediately make you their equal in the eyes of the public. The fact of the matter is, there already is a Coldplay, why does the world need another one? It’s their brand, not yours. The only way that a brand can be successful is to differentiate itself from the competition. A great example is the seminal punk band The Ramones, who decided that all their songs would be as short as possible and played without solos. There must be something that makes you unique in even a small way. If you can’t find it, it may be time to go back to the drawing board.

4. Keep the look consistent. Consistency of product and image are the key to branding. That’s why you need to use the same logo and fonts and have the same general look and feel across all your promo for it to be effective. That includes your website, press kit, blog, newsletter and all social media.

 5. Create a remarkable logo. This is a requirement if you’re planning to promote your brand. You need this for your website, social sites, merchandise, press kit, promo and on your stage during gigs. In short, it has to be part of everything you do. You may start promoting yourself without it, but it’s a big plus if you already have a logo. It separates you from the newbies. Just as an example, here are a few unmistakable musician’s logos.

If you’re a musician without a band, a producer, songwriter or engineer, it doesn’t mean that you must also have a logo as well (although it would be better), but at the very least, use the same font for your name on your blog, website, newsletter and anywhere else it might appear.

6. Great photos are a necessity. You need first class photos for posters, merch, website, social networks, press kits, and a lot more if you want to build your brand. This is as important as the logo – you need a great photo in order to begin any kind of promotion. Have you ever seen a Facebook page or website of a major artist without an artist or band photo?

7. Give away samples. Learn this phrase well as you will hear it repeated frequently.

Your music is your marketing.

That means that you can’t look at your music as your product. It may bring in some money eventually but not all that much in the grand scheme of things. Remember that 90 to 95% of the money that a major artist earns is not from recorded music. It’s from concerts, merchandise, publishing and licensing.

TIP: Don’t be afraid to give your music away. It’s your best marketing tool and the best way to build your brand.

8. Cool is never declared. You cannot proclaim how new and unique you are. If such a statement is in fact true, people will find out soon enough and tell the world. You can use quotes from other people, but telling the world that you think you’re cool does not make it so.

While the source of his antics are debatable and his self righteous rants are often met with disregard one thing cannot be denied.

Kanye West has mastered the art of personal branding and ascended his name amongst the gods of Hollywood; ensuring that he will always be remembered as a significant piece of pop culture for our generation.

With social media becoming the go to avenue of how we are perceived many people are making strides to perfect their online personal branding, entrepreneurs and professionals alike.

Below are three things Kayne West can teach you about personal branding.

#1. Strive To Be Polarizing, Not Popular

Sure Mr. West is incredibly famous, but aside from his skill set as an artist and fashion designer the number one quality he possesses that makes him so popular is his ability to be incredibly polarizing.

Kanye is 100% confident in who he is as well as his purpose in life and he isn’t afraid to live his truth, more importantly, he couldn’t give two ’s whether you like him or not.

Because of that many people hate him, but at the same time many more people love him and that’s the power of being polarizing.

In Russell Brunson’s book Expert Secrets he notes that having a polarizing personality is one of the key archetypes in creating a charismatic leader that raving fans will follow and buy every product that’s offered to them.

Even if you’re a professional and you don’t have a product or service to offer everyone respects an individual who’s not afraid to live their own truth regardless of how they are judged, especially the people that have the power to promote you to higher positions within your company.

This is one of the hardest things for people to do because we all want to be liked but as Dr. Seuss once said,

“Those Who Mind Don’t Matter, and Those Who Matter Don’t Mind”

So be yourself, speak your truth, and be ok with creating a divide between people who love and hate you.

#2. Boxes Are For Items Not People

Kanye West first hit the fashion industry back in 2004 when he released a line of short lived polo shirts that bared his College Dropout bear logo stitched onto the left side of the chest. Since then he has gone on to create the highest selling shoe ever designed by a non athlete and been at the forefront of street fashion for the last 5 fives years with his Adidas collaboration line Yeezy Season.

Kanye finally won the approval of the fashion industry through the release of his Yeezy Season 1 collection.

The road to acceptance in the fashion industry wasn’t easy as Kanye once noted,

“Y’all ever seen Wreck It Ralph?, you remember that girl, the glitch? You think people don’t look at Kanye West like the Glitch!”

Kanye was basically saying that he was very unwelcome by the heavy weights in fashion and he fought for over a decade to gain their approval, even spending a majority of his off time in Paris as an intern for luxury fashion house Louis Vuitton.

The fashion designers were trying to put Kanye in a box, but he wasn’t having it and neither should you.

While its good for your audience to be able to easily identify who you are and what you’re about that does not mean that you have to stick to one script, formula, or road map in order to grow your brand.

In fact, expanding your brand into uncharted territory is a great way to tap into a new fan base; just make sure that you take time to build a solid foundation for your brand before you venture into new opportunities.

#3 If You Don’t Speak Highly Of Yourself No One Else Will

“Why do I say I’m a god? Because thats what I think, I think I’m a god! Would it make you more comfortable if I said, ‘I think I’m a (explicit)?!?”

Of all things Kanye West is probably most known for his rants of self righteousness. We’ve heard him call himself everything from a visionary to the next Michelangelo Di Vinci and even depict him self as a god like figure and crucifying himself in his music videos.

The craziest thing about his insane amount of vanity isn’t what he thinks of himself at all…

Its the fact that others agree with him!

At one point Kanye’s god like celebrity rose to such a high that a small group of crazed teenage fans met online and started a religion rightfully titled,