“. . . but I don’t know if I can sing like that”—21-year-old Josh in 2011 made this statement after my voice instructor caught me singing high chest-voice pitches in a reinforced falsetto during my chamber choir audition. As a lyric baritone who had sung all my life but had just begun formally studying voice in 2010, I thought I was getting away with staying in my smooth, soft, crooner-like contemporary R&B style, but I had to step outside my comfort zone to explore other facets of my voice. I was afraid to sing high pitches in full chest voice because I had often experienced discomfort due to vocal misuse when I was younger. However, my university voice instructor assured me that I was in a safe space to explore. His undergraduate Introduction to Vocal Pedagogy course led me to discover the world of vocal health and voice science, and the rest was history. After I received my Bachelor of Arts degree in Music Industry with a concentration in Vocal Performance in 2012, I decided to pursue a Master of Music degree in Vocal Pedagogy, which I completed in 2016. In graduate school, I met individuals who experienced pathologies (e.g., vocal fold polyps, nodules, etc.). For example, my mezzo-soprano friend experienced symptoms of muscle tension dysphonia due to singing the tessitura of a high soprano. Another classmate had a vocal fold nodule, which negatively impacted her vocal fold closure needed for adequate sound-making. During my university teaching career, my colleagues and I taught voice students who had previously experienced different acute or chronic issues due to vocal abuse or misuse. As a collegiate and private instructor who prioritizes synthesizing science with the art of singing, I have been able to assist my students with improving and becoming more actively aware of their speech and singing. I am grateful for the opportunity to introduce voice health and physiologically efficient singing techniques to musicians. However, I recognize that my current expertise can be enhanced and expanded. With that being said, I am now pursuing a Doctor of Musical Arts degree in Voice Pedagogy at Shenandoah University (SU), as well as teach as an adjunct voice instructor at SU. As a singing voice specialist and an aspiring occupational voice consultant, I desire to help voice users recover from injury, restore healthy function, prevent damage, and sustain unrestricted communication and dynamically expressive artistry. Particularly, being a Black male singing voice specialist highlights an increase in representation. Pursuing the mentioned doctoral degree is the perfect opportunity to inspire other Black men, women, boys, and girls to consider joining the evolving singing voice specialty and to contribute growing research and practices that can directly benefit marginalized communities in a more focused way. Diversity yields further creative, cross-culturally intersectional and inclusive solutions for voice users across demographics and skill sets. When vocalists see themselves in the places where they receive care and guidance, the circumstances to serve a greater quantity of individuals become increasingly favorable and possible. The connection between speaking and singing is an intimate one, just as music and the human soul are intertwined. The ways in which we express ourselves are extensions of who we are. I can attest to this, as I have been singing since age 3 (I am currently 34) and utilizing music as a source of creativity, comfort, encouragement, and wonder. This new academic endeavor of completing a musical doctoral degree will provide fresh perspective to continue fostering healthy vocal habits, in addition to inspiring others to share their gifts most freely and purposefully.