Hey, everybody. Welcome back to your cringe, daily, daily cringe.

Daily, cringe.

You know, I don't like the run.

I don't like the run of, I don't like the, I don't like that.

I don't like that.

Never did.

I didn't even like it when Whitney did it.

Oh my God.

I said Whitney.

I meant Whitney Houston.

I also don't like it when Whitney Cummings does like a... You ever heard Whitney Cummings do the pledge, the national anthem?

It's pretty bad, yeah.

Can you sing?

I don't love it.

Is it just, well, you know, I mean, this, this doesn't have a ton to do with what we're talking about, but I don't love your, I don't love vibrato a lot.

I just don't.

What do you don't love?

Vibrato. Oh, see, I don't mind that. I like that in a Broadway and like a... But what, like, to me, that's similar thing. It's just like so... I just like, just sing. Just be saying. I seem to dream in time gone by. I like it because I like it because I grew up with Les Mis. I grew up with all the

musicals and all the originals and I'd listen especially to Les Mis like in the high school.

And it was that was the, it was the cool voice to do as a theater chick. So like, and I, I think as a theater,

as the theater chick between us, it was very cool. That's all I can tell you at the time. And so I just kind of stayed with like all my favorites. Even like Bernadette Peters, you know, a lot of the Angelouet Weber and Sondheim and I just, oh, I freaking love it. They've done well. Or even an opera, like in a soprano, I think it's beautiful. It's shattering. It's like, oh, I love it. But yet you don't like a run, which to me is like a cousin of... I don't like a cousin of... You're not doing a melody. You're not doing a melody. Oh, say, can you see? That's not... A good run doesn't sound like that, though.

Yes, it does.

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