The Mamas & the Papas (credited as The Mama's and the Papa's on the debut a… Read Full Bio ↴The Mamas & the Papas (credited as The Mama's and the Papa's on the debut album cover) were a leading vocal group of the 60s from New York. The group recorded and performed from 1965 to 1968, releasing five albums and charting ten hit singles that hold up as well today as they did back in the sunshine era. While spending relatively a short time in the realm of popular music, some group members have pointed to their short time in the spotlight as a reason why they still have loyal fans today.
Denny Doherty, Cass Elliot, John Phillips, and Michelle Phillips formed the group in New York after previous folk groups (The Mugwumps, The New Journeymen) failed. The foursome hit it big immediately after forming The Mamas & the Papas with "California Dreamin'", still their most recognizable and enduring song (The group's early history is amusingly chronicled in the song "Creeque Alley").
The name of the band was inspired by a daytime television talk show. Before the group recorded their debut album If You Can Believe Your Eyes and Ears, the band was known for a short time as The Magic Circle. Wanting an easier name to remember, they were sitting around their house (which all four band members initially shared) brainstorming on a new name. Someone switched on the TV and a talk show was on with a Hells Angel. The first thing they heard was: "Now hold on there, Hoss. Some people call our women cheap, but we just call them our Mamas." Cass jumped up and exclaimed, "Yeah! I want to be a Mama!" Michelle chimed in that she wanted to be a "Mama" too. John and Denny looked at each other and John said, "Papas? Okay, problem solved." And the band had a new name.
In interviews, former band members confide that their recording sessions (and lifestyles) were usually heavily drug-laden, with large reserves of marijuana and other popular 1960s drugs on hand. They even admit that their young children, also usually present at recording sessions, openly witnessed their drug activities. Said drug usage clearly contributed to inter-group tensions.
John Phillips had married Michelle Gilliam back on December 31, 1962, long before the formation of the band. Early on in the band's history, when they were still "The Magic Circle", Michelle and Doherty began an affair in 1965. They were able to keep it secret from the other two band members for quite some time. During a trip to Mexico, Doherty revealed his affair to Elliot, who was furious (since she was secretly in love with Doherty). Soon afterwards, John Phillips caught Michelle and Doherty in the act and moved out of the house.
John could not stand to live with Michelle afterwards and so moved back in with Doherty. At this point Michelle fled into the arms of Gene Clark of The Byrds (friends and rivals of The Mamas & the Papas). After one concert where Michelle blew kisses to front-row-seated Clark, John said he could not stand to perform with Michelle any longer. Consulting both their attorney Abe Somer as well as their label Dunhill Records, the band then drafted a formal statement kicking Michelle out of the group in June 1966.
At this point they hired a new band member to replace Michelle, Jill Gibson, girlfriend of their producer Lou Adler. Gibson was already a singer/songwriter who had performed on several Jan and Dean albums. In fact, she had once been involved with Jan Berry for seven years before becoming romantically linked to Adler. Gibson was however not known as a strong singer, but learned to sing Michelle's parts within three weeks while the band was in London, England. Jill Gibson's vocals are featured on the band's second album The Mamas & the Papas, except for two tracks that include Michelle. Gibson's most important asset, however, was that she was a good replacement for Michelle: long blond hair, slim figure, pretty face, good voice, etc. Shortly after recording and touring with Gibson, it became apparent that some fans were not happy with the substitution while others did not mind. Afterwards, largely due to John, the band reintroduced Michelle to the lineup in late August 1966. Gibson received an undisclosed lump sum for her part and later would admit to feeling betrayed by John Phillips.
Michelle and John reconciled and bought a home together in Bel Air, while the band tried to forge ahead. Things seemed fine for a while (at least they pretended they were). The group recorded their third album Deliver, which became a huge hit, and during this same time Denny was drinking heavily trying to forget Michelle. He still had a hard time seeing her back with John. Eventually the band closed the first ever Monterey International Pop Festival in June 1967, but performed dismally. John Phillips, Michelle Phillips and Lou Adler organized the festival, and according to interviews with the members of the group, they were all so caught up in the festival they never got around to rehearsing. That, combined with Denny Doherty's last minute arrival from Canada, created an unmemorable performance.
The band tried to work on another album (to which they were contractually bound). After making no progress, they decided to take a trip in October of 1967, to Europe to spark their creativity. While in England at a party thrown by Dunhill Records, their record label, Elliot was talking to Mick Jagger. John approached them and made an insulting remark about her in front of the guests. Disgusted and humiliated, she stormed out of the party and quit the band. Their record company released a Greatest Hits compilation as a stopgap measure. Cass was contractually bound for the band's next LP, and therefore appeared on The Papas & the Mamas, the group's fourth album.
The band broke up in July 1968. In a rare interview, after the group's break up, with Rolling Stone magazine, Cass admitted she wanted to go solo and that this is what had caused the official break up of the band.
Cass Elliot started a very successful solo career and toured the U.S. and Europe, becoming popular with hits such as "Make Your Own Kind of Music." In reviewing their contracts, the record company decided the band owed them one more album. After about a year apart, the band regrouped and released their final album People Like Us in 1971. They disbanded in 1972.
While on tour, Elliot died of a heart attack on July 29, 1974 (not from choking on a ham sandwich, as is sometimes reported). John Phillips died of heart failure on March 18, 2001. Michelle Phillips went on to a successful acting career, appearing in the 1973 movie Dillinger as well in the television drama Knots Landing, among others. Denny Doherty went on to host a popular variety show in Canada. Denny Doherty died on January 19, 2007. His sister Frances Arnold said the singer-songwriter died at his home in Mississauga, a city just west of Toronto, after a short illness. Michelle Phillips is now the only surviving member of the band.
John's eldest daughter from his first marriage, Mackenzie Phillips, had a moderately successful career as an actress in the mid-70s, having first appeared in George Lucas's hit film American Graffiti (1973) and then in the successful TV series One Day at a Time, but found her success so overshadowed by her problems with drug addiction—habits that she had shared personally with her father—that by 1979 her career had effectively ended due to her inability to work. She had been in the spotlight in recent days for her tell-all book in which she reveals that she has consensual sex with her father, John Phillips, for a period of over ten years, ending when she was around eighteen. John and Michelle's daughter, Chynna, would go on to form the band Wilson Phillips along with Carnie Wilson and Wendy Wilson (the daughters of Beach Boys' Brian Wilson), with whom she's been friends since infancy. John's youngest daughter, Bijou Phillips, is a successful actress and model.
The Mamas & the Papas were inducted to the Rock & Roll Hall of Fame in 1998 and into the Vocal Group Hall of Fame in 2000.
In recent years, entirely new, succeeding incarnations of The Mamas & the Papas have toured small cities nationwide—most notably featuring Spanky McFarlane and Scott McKenzie as part of the lineup—but none of them have the spirit and impact of the original group that John Phillips helped to build.
Denny Doherty, Cass Elliot, John Phillips, and Michelle Phillips formed the group in New York after previous folk groups (The Mugwumps, The New Journeymen) failed. The foursome hit it big immediately after forming The Mamas & the Papas with "California Dreamin'", still their most recognizable and enduring song (The group's early history is amusingly chronicled in the song "Creeque Alley").
The name of the band was inspired by a daytime television talk show. Before the group recorded their debut album If You Can Believe Your Eyes and Ears, the band was known for a short time as The Magic Circle. Wanting an easier name to remember, they were sitting around their house (which all four band members initially shared) brainstorming on a new name. Someone switched on the TV and a talk show was on with a Hells Angel. The first thing they heard was: "Now hold on there, Hoss. Some people call our women cheap, but we just call them our Mamas." Cass jumped up and exclaimed, "Yeah! I want to be a Mama!" Michelle chimed in that she wanted to be a "Mama" too. John and Denny looked at each other and John said, "Papas? Okay, problem solved." And the band had a new name.
In interviews, former band members confide that their recording sessions (and lifestyles) were usually heavily drug-laden, with large reserves of marijuana and other popular 1960s drugs on hand. They even admit that their young children, also usually present at recording sessions, openly witnessed their drug activities. Said drug usage clearly contributed to inter-group tensions.
John Phillips had married Michelle Gilliam back on December 31, 1962, long before the formation of the band. Early on in the band's history, when they were still "The Magic Circle", Michelle and Doherty began an affair in 1965. They were able to keep it secret from the other two band members for quite some time. During a trip to Mexico, Doherty revealed his affair to Elliot, who was furious (since she was secretly in love with Doherty). Soon afterwards, John Phillips caught Michelle and Doherty in the act and moved out of the house.
John could not stand to live with Michelle afterwards and so moved back in with Doherty. At this point Michelle fled into the arms of Gene Clark of The Byrds (friends and rivals of The Mamas & the Papas). After one concert where Michelle blew kisses to front-row-seated Clark, John said he could not stand to perform with Michelle any longer. Consulting both their attorney Abe Somer as well as their label Dunhill Records, the band then drafted a formal statement kicking Michelle out of the group in June 1966.
At this point they hired a new band member to replace Michelle, Jill Gibson, girlfriend of their producer Lou Adler. Gibson was already a singer/songwriter who had performed on several Jan and Dean albums. In fact, she had once been involved with Jan Berry for seven years before becoming romantically linked to Adler. Gibson was however not known as a strong singer, but learned to sing Michelle's parts within three weeks while the band was in London, England. Jill Gibson's vocals are featured on the band's second album The Mamas & the Papas, except for two tracks that include Michelle. Gibson's most important asset, however, was that she was a good replacement for Michelle: long blond hair, slim figure, pretty face, good voice, etc. Shortly after recording and touring with Gibson, it became apparent that some fans were not happy with the substitution while others did not mind. Afterwards, largely due to John, the band reintroduced Michelle to the lineup in late August 1966. Gibson received an undisclosed lump sum for her part and later would admit to feeling betrayed by John Phillips.
Michelle and John reconciled and bought a home together in Bel Air, while the band tried to forge ahead. Things seemed fine for a while (at least they pretended they were). The group recorded their third album Deliver, which became a huge hit, and during this same time Denny was drinking heavily trying to forget Michelle. He still had a hard time seeing her back with John. Eventually the band closed the first ever Monterey International Pop Festival in June 1967, but performed dismally. John Phillips, Michelle Phillips and Lou Adler organized the festival, and according to interviews with the members of the group, they were all so caught up in the festival they never got around to rehearsing. That, combined with Denny Doherty's last minute arrival from Canada, created an unmemorable performance.
The band tried to work on another album (to which they were contractually bound). After making no progress, they decided to take a trip in October of 1967, to Europe to spark their creativity. While in England at a party thrown by Dunhill Records, their record label, Elliot was talking to Mick Jagger. John approached them and made an insulting remark about her in front of the guests. Disgusted and humiliated, she stormed out of the party and quit the band. Their record company released a Greatest Hits compilation as a stopgap measure. Cass was contractually bound for the band's next LP, and therefore appeared on The Papas & the Mamas, the group's fourth album.
The band broke up in July 1968. In a rare interview, after the group's break up, with Rolling Stone magazine, Cass admitted she wanted to go solo and that this is what had caused the official break up of the band.
Cass Elliot started a very successful solo career and toured the U.S. and Europe, becoming popular with hits such as "Make Your Own Kind of Music." In reviewing their contracts, the record company decided the band owed them one more album. After about a year apart, the band regrouped and released their final album People Like Us in 1971. They disbanded in 1972.
While on tour, Elliot died of a heart attack on July 29, 1974 (not from choking on a ham sandwich, as is sometimes reported). John Phillips died of heart failure on March 18, 2001. Michelle Phillips went on to a successful acting career, appearing in the 1973 movie Dillinger as well in the television drama Knots Landing, among others. Denny Doherty went on to host a popular variety show in Canada. Denny Doherty died on January 19, 2007. His sister Frances Arnold said the singer-songwriter died at his home in Mississauga, a city just west of Toronto, after a short illness. Michelle Phillips is now the only surviving member of the band.
John's eldest daughter from his first marriage, Mackenzie Phillips, had a moderately successful career as an actress in the mid-70s, having first appeared in George Lucas's hit film American Graffiti (1973) and then in the successful TV series One Day at a Time, but found her success so overshadowed by her problems with drug addiction—habits that she had shared personally with her father—that by 1979 her career had effectively ended due to her inability to work. She had been in the spotlight in recent days for her tell-all book in which she reveals that she has consensual sex with her father, John Phillips, for a period of over ten years, ending when she was around eighteen. John and Michelle's daughter, Chynna, would go on to form the band Wilson Phillips along with Carnie Wilson and Wendy Wilson (the daughters of Beach Boys' Brian Wilson), with whom she's been friends since infancy. John's youngest daughter, Bijou Phillips, is a successful actress and model.
The Mamas & the Papas were inducted to the Rock & Roll Hall of Fame in 1998 and into the Vocal Group Hall of Fame in 2000.
In recent years, entirely new, succeeding incarnations of The Mamas & the Papas have toured small cities nationwide—most notably featuring Spanky McFarlane and Scott McKenzie as part of the lineup—but none of them have the spirit and impact of the original group that John Phillips helped to build.
02. dream a little dream of me
The Mamas & the Papas Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Stars shining bright above you
Night breezes seem to whisper I love you
Birds singing in the sycamore tree
Dream a little dream of me
Say night-ie night and kiss me
Just hold me tight and tell me you'll miss me
While I'm alone and blue as can be
Dream a little dream of me
Stars fading but I linger on, dear
Still craving your kiss
I'm longing to linger till dawn, dear
Just saying this
Sweet dreams till sunbeams find you
Sweet dreams that leave all worries behind you
But in your dreams whatever they be
Dream a little dream of me
Stars fading but I linger on, dear
Still craving your kiss
I'm longing to linger till dawn, dear
Just saying this
Sweet dreams till sunbeams find you
Sweet dreams that leave all worries far behind you
But in your dreams whatever they be
Dream a little dream of me
Night breezes seem to whisper I love you
Birds singing in the sycamore tree
Dream a little dream of me
Say night-ie night and kiss me
Just hold me tight and tell me you'll miss me
While I'm alone and blue as can be
Stars fading but I linger on, dear
Still craving your kiss
I'm longing to linger till dawn, dear
Just saying this
Sweet dreams till sunbeams find you
Sweet dreams that leave all worries behind you
But in your dreams whatever they be
Dream a little dream of me
Stars fading but I linger on, dear
Still craving your kiss
I'm longing to linger till dawn, dear
Just saying this
Sweet dreams till sunbeams find you
Sweet dreams that leave all worries far behind you
But in your dreams whatever they be
Dream a little dream of me
The song "Dream A Little Dream Of Me" by The Mamas & the Papas is a classic love song with a dreamy and romantic vibe. The lyrics speak of the singer's desire for their lover to dream of them and for them to have sweet dreams. The opening line "Stars shining bright above you" sets the dreamy tone of the song, creating an image of a peaceful and starry night where the singer is feeling introspective and yearning for their lover.
The lyrics are split between the first and second person, with the first person being the singer and the second person being their lover. The chorus is a call to their lover to "dream a little dream of me" and to find comfort and solace in their dreams. The verses are the singer expressing their own feelings of loneliness and longing for their lover, suggesting that they too will be dreaming of them while they are apart.
The song is a romantic classic that has been covered by many artists over the years, but the charm and magic of the original version sung by The Mamas & the Papas still holds strong. It's a beautiful reminder of the power of love, dreams and the unbreakable bond between two people.
Line by Line Meaning
Stars shining bright above you
The stars are brightly shining above you.
Night breezes seem to whisper I love you
The gentle night breeze seems to whisper that it loves you.
Birds singing in the sycamore tree
The birds are singing in the sycamore tree.
Dream a little dream of me
Please dream of me a little dream.
Say night-ie night and kiss me
Good night, kiss me now.
Just hold me tight and tell me you'll miss me
Please hold me tight and tell me you will miss me.
While I'm alone and blue as can be
I am so lonely and sad right now.
Dream a little dream of me
Please dream of me a little dream.
Stars fading but I linger on, dear
Although the stars are fading, I am still here, my dear.
Still craving your kiss
I still long for your kiss.
I'm longing to linger till dawn, dear
I want to stay here with you until the morning.
Just saying this
I am just telling you how I feel.
Sweet dreams till sunbeams find you
I hope you have sweet dreams until the sun finds you.
Sweet dreams that leave all worries behind you
May your sweet dreams leave behind all of your worries.
But in your dreams whatever they be
Whatever your dreams may be.
Dream a little dream of me
Please dream of me a little dream.
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Fabian Andre, Gus Kahn, Wilbur Schwandt
Lyrics Licensed & Provided by LyricFind
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@lyndafayesmusic
And she knew the exact key to sing it in to sing in those registers; some singers never figure out their own voices.
HEAVENLY...Still...
One of those situations in which, the song becomes synonymous with the singer. Can't DREAM without thinking of Mama Cass, anymore, can we ? She made us feel we were all up there dreaming along with her, didn't she ?
Singing a memorial to her is almost a "sacrilegious gesture" isn' t ?
I meant only respect for this beautiful lady.
Yes, back when BREATHING was important and SCREAMING in microphones was not ?
NO one should ever sing this song without giving credit TO Mama Cass...using her pictures etc. I tried...but I don' t like "hearing " singers EMULATING HER.
I think the la de dum dum's were Cass's musical/instrumental additives, i.e., "arrangements" she wanted to hear played by other instruments; I think she loved each and every note of this song, and was adding her personal touches to it continually. What a unique singer. RIP Cass.
God, how I would have loved doing a duet with this lady back in the 70's!
Too Little Too Late, ah...Of all of the songs out there from the 70's this is one that SHOULD be sung in Italian, French and Spanish too?
Dream-a Memorial to Mama Cass.
"La Seine" the duet, and
Ana Marie Ceuca sings "One Enchanted Evening" by LyndaFaye
LyndaFayeSmusic@yahoo
@lyndafayesmusic
She had other voices too; Rock was even good/harmonies....
i'M LOOKING FORWARD to the MOVIE about this beautiful lady, coming out; but then they'd have to hide some some of the truthS of the "music industry" too?
Back when BREATHING was important and SCREAMING in microphones was not ?
One of a kind and ...Remember the " Spirit" never dies.
HEAVENLY...Still...They're probably accompanying her on the harp now.
We could sure benefit from her "Loving compassion for humanity now!"
She was from the "Make love Not War " Generation.
One of those situations in which, the song becomes synonymous with the singer. Can't DREAM without thinking of Mama Cass, anymore, can we ? She made us feel we were all up there dreaming along with her, didn't she ?
Singing a memorial to her is almost a "sacrilegious gesture" isn' t ?
I meant only respect for this beautiful lady.NO one should ever sing this song without giving credit TO Mama Cass...using her pictures etc. I tried...but I don' t like "hearing " singers EMULATING HER.
I think the la de dum dum's were Cass's musical/instrumental additives, i.e., "arrangements" she wanted to hear played by other instruments; I think she loved each and every note of this song, and was adding her personal touches to it continually. What a unique singer. RIP Cass.
God, how I would have loved doing a duet with this lady back in the 70's!
Too Little Too Late, ah...Of all of the songs out there from the 70's this is one that SHOULD be sung in Italian, French and Spanish too?
Dream-a Memorial to Mama Cass.
"La Seine" the duet, and
Ana Marie Ceuca sings "One Enchanted Evening" by LyndaFaye
LyndaFayeSmusic@yahoo
@racketxyz
Stars shining bright above you
Night breezes seem to whisper "I love you"
Birds singin' in the sycamore trees
Dream a little dream of me
Say "Night-ie night" and kiss me
Just hold me tight and tell me you'll miss me
While I'm alone and blue as can be
Dream a little dream of me
Stars fading but I linger on, dear
Still craving your kiss
I'm longing to linger 'til dawn, dear
Just saying this
Sweet dreams 'til sunbeams find you
Sweet dreams that leave all worries behind you
But in your dreams, whatever they be
Dream a little dream of me
Stars fading but I linger on, dear
Still craving your kiss
I'm longing to linger 'til dawn, dear
Just saying this
Sweet dreams 'til sunbeams find you
Sweet dreams that leave all worries behind you
But in your dreams, whatever they be
Dream a little dream of me
Dream a little dream of me
Dream a little dream of me
@lyndafayesmusic
One of those situations in which, the song becomes synonymous with the singer. Can't DREAM without thinking of Mama Cass, anymore, can we ?
Singing a memorial to her is almost a "sacrilegious gesture" isn' t ?
I meanot only respect for this beautiful lady.
Yes, back when BREATHING was important and SCREAMING in microphones was not ?
NO one should ever sing this song without giving credit TO Mama Cass...using her pictures etc. I tried...but I don' t like "hearing " singers EMULATING HER.
I think the la de dum dum's were Cass's musical/instrumental additives, i.e., "arrangements" she wanted to hear played by other instruments; I think she loved each and every note of this song, and was adding her personal touches to it continually. What a unique singer. RIP Cass.
God, how I would have loved doing a duet with this lady back in the 70's!
Too Little Too Late, ah...
Dream-a Memorial to Mama Cass.
LyndaFayeSmusic@yahoo
@lyndafayesmusic
Do you know the exact FORMER TITLES OF this song ? I could never find them.
There are some singers who are not "performing". They'd be singing the same quality songs at home in their own bedrooms to themselves, she just allowed the camera to catch her once in awhile..... long story short...
i'M LOOKING FORWARD to the MOVIE about this beautiful lady, coming out; but then they'd have to hide some some of the truthS of the "music industry" too?
Back when BREATHING was important and SCREAMING in microphones was not ?
One of a kind and ...Remember the " Spirit" never dies.
HEAVENLY...Still...They're probably accompanying her on the harp now.
We could sure benefit from her "Loving compassion for humanity now!"
She was from the "Make love Not War " Generation.
One of those situations in which, the song becomes synonymous with the singer. Can't DREAM without thinking of Mama Cass, anymore, can we ? She made us feel we were all up there dreaming along with her, didn't she ?
Singing a memorial to her is almost a "sacrilegious gesture" isn' t ?
I meant only respect for this beautiful lady.NO one should ever sing this song without giving credit TO Mama Cass...using her pictures etc. I tried...but I don' t like "hearing " singers EMULATING HER.
I think the la de dum dum's were Cass's musical/instrumental additives, i.e., "arrangements" she wanted to hear played by other instruments; I think she loved each and every note of this song, and was adding her personal touches to it continually. What a unique singer. RIP Cass.
God, how I would have loved doing a duet with this lady back in the 70's!
Too Little Too Late, ah...Of all of the songs out there from the 70's this is one that SHOULD be sung in Italian, French and Spanish too?
Dream-a Memorial to Mama Cass.
"La Seine" the duet, and
Ana Marie Ceuca sings "One Enchanted Evening" by LyndaFaye
LyndaFayeSmusic@yahoo
@lyndafayesmusic
One of a kind and ...Remember the " Spirit" never dies.
HEAVENLY...Still...They're probably accompanying her on the harp now.
We could sure benefit from her "Loving compassion for humanity now!"
She was from the "Make love Not War " Generation.
One of those situations in which, the song becomes synonymous with the singer. Can't DREAM without thinking of Mama Cass, anymore, can we ? She made us feel we were all up there dreaming along with her, didn't she ?
Singing a memorial to her is almost a "sacrilegious gesture" isn' t ?
I meant only respect for this beautiful lady.
Yes, back when BREATHING was important and SCREAMING in microphones was not ?
NO one should ever sing this song without giving credit TO Mama Cass...using her pictures etc. I tried...but I don' t like "hearing " singers EMULATING HER.
I think the la de dum dum's were Cass's musical/instrumental additives, i.e., "arrangements" she wanted to hear played by other instruments; I think she loved each and every note of this song, and was adding her personal touches to it continually. What a unique singer. RIP Cass.
God, how I would have loved doing a duet with this lady back in the 70's!
Too Little Too Late, ah...Of all of the songs out there from the 70's this is one that SHOULD be sung in Italian, French and Spanish too?
Dream-a Memorial to Mama Cass.
"La Seine" the duet, and
Ana Marie Ceuca sings "One Enchanted Evening" by LyndaFaye
LyndaFayeSmusic@yahoo
@user-ne4vc3fx3q
Her eyes look like they’re made of stars. What a gift she was.
@elvisfan61
I noticed that, too. They're twinkling. Great clip.
@btcrazee1
I was just thinking that....
@McJordan20
She‘s probably high😅
@filmic1
Perfect pitch, no autotune here. Just like Judith Durham, The Seekers. Pure talent.
@misterhutch2053
@@McJordan20and still killed it . Can you imagine ?
@stephanierapkin9600
You can't even tell when she's taking a breath she's so flawless.
@Andybetz.99
Hi Stephanie
@maryrosekent8223
It’s called breath support; people who make breathing/gasping noises are singing from their throat and not from their diaphragm, which is how you control your voice, give it support, and make it shine; your throat is really only a conduit, so it comes out raspy and gaspy.
@DieFrauHuI
She’s not signing in live , however she had a beautiful voice