The read
February 2003: between The Two Towers and The Return of the King, the world’s most famous wizard sits down to talk about his childhood — and barely stops. Three pauses in two minutes, none reaching a third of a second; the storytelling momentum simply never lets go. The melody does the opposite of resting: pitch swinging through nearly eighteen semitones — an octave and a half — with variability above the band. Underneath the theatrics, the anchor is genuine: chest resonance and average pitch both optimal. And warmth and likeability read as the strongest qualities on his page — the knight of the realm measures, above all, approachable.