The larynx tilts to create twang compression, creating a brighter sound color. I've seen multiple vocal coaches call this cry because of the sound it can make that's similar to a baby crying or a cat's meow when combined with the glottal thinning of cry. Twang also involves narrowing the epiglottic funnel, essentially doing in the vocal tract something very similar to what sticking your thumb in a water hose does to the water pressure. In a mirror, you will likely interpret what's happening as the larynx raising. https://cvtresearch.com/description-of-twang/ Cry/Sob/Whimper slightly dampens the larynx, creating a darker sound color. It also thins the glottis, create medial compression (surface area, but without flexing the TA muscles), and helps lift resonance and pressure, making singing much easier. It's less visual and more a feeling of a very slight tension the hyoid area as well as a very open feeling toward a yawn. You can feel these areas activate quite a bit when in speech mode and over-dramatically whining. The balance between the two helps determine your acoustic anchor/placement or main sound color. Command and control of the cry reflex IS singing.

@Kenny Kendall It's still Tex-Mex, 3 ingredients: Tortilla, meat, shredded cheese. Or rather for voice: Acoustics, Compression, Constriction that each need independent fine-motor control. Then I split those controls in two groups: 1. Acoustics or cried/whimpered/lifted singing resonance with an uncompressed glottis, causing airy singing and... 2. Uncompressed glottis (non singing vocal fry or "witch's cackle") with constriction (hyoid-focused light grunt or gritty-/Uh/), causing a smoker's voice like sound. I start with #1 and then try to only touch on #2. This requires support to change from the throttle that's normally used to get volume, to more core bracing for regulating consistent airflow pressure (like planking or what happens to the diaphragm and intercostal muscles when you try to blow out birthday candles without sticking out your cheeks. I cover this with my other teachers in more detail, including their perspectives, in Vocal Distortion pt.2.

@Kenny Kendall Bleeding air, not fully open.

@Kenny Kendall Distortion B4 and above requires a mixed voice in order to be comfortable and safe—a more headier mix the higher it is. Cornell had a unique voice position though, where his distortion came from always over crying with a neutral to curbing acoustic position and a lot of twang compression. So, his glottis was always thin enough that a little extra pressure caused distortion.

@Kenny Kendall "Is bleeding the glottis done by intentionally letting air escape by singing in a breathy way?" Yes, that's the main way I personally use as a visual. But the actual shape is made by over-crying to add a little sob, larynx dampening, and glottal thinning—making it where the glottis bleeds naturally because it's not thick enough to hold back air when there's too much pressure. Cornell was in that position all the time during his prime.

@Kenny Kendall Chris is still learning, although he has come a long way over the past couple of years with distortion. I'm really impressed by his intuition. He loves 30 minutes from me too, haha! I think he finally got good control over distortion this year. His terminology isn't what's more widely accepted in singing, which is the problem I see aa lot of distorrtion singers struggle with, causing many of us to use very different terminology to describe the same things. I pull from the two main pedagogies of Estill (EVT) and CVT, the former focused more on vocal tract shapes and the latter focused more on acoustics. That not to say that Chris is wrong, just different terminology. I described much of how I approach distortion in my answer to you, here. The two part "mini-course" in the free training vault cover this even more, although not as in depth as my courses. Chris often calls constriction and compression the same thing and doesn't account for acoustic/vocal modes. For example, rather than cry physical quality, the sob and whimper that thins the glottis and adjusts medial compression and lowers the larynx slightly, Chris (and others) often mistake Twang (/ae/ "ash") compression for cry rather than twang actually being compression and narrowing of the vocal tract. The main differences in the distortion of the singers and screamers you mentioned is the acoustic placement, followed by how much air they're bleeding from the glottis and how much constriction they have in the hyoid area. Shifting acoustics from more edging and forward to curbing or further back on the soft palate, or even downward for lower screams, will drastically change the larynx position. This directly affects the amount of compression and constriction too. It's all a balance, but I can hear Chris using that acoustic shift and translating it as different constriction placements rather than it being the same mechanism with different larynx positions caused by acoustic shifts.

@Kenny Kendall I think it's best if I answer where you can hear and see me. Trying to sum it all up quickly will still take about 10 minutes though.

@Kenny Kendall I separate distortion into Grit and Screams mostly based on full-voice (1:04) vs falsetto (1:08). As you'll see in the two distortion videos in the classroom's "free training vault", I separate distortion into acoustics, compression, and constriction because of my studies in vocal acoustics and harmonics and shaping the vocal tract for different sounds. The main amplification and tone/sound-color is in the acoustic placement/resonance, bleeding air from the glottis (uncompression of the true cords to add air rather than a clean tone) allows chaos and fry, and the actual distortion or over-saturation of harmonics is in the false cords and constriction of that area. Changing any one of these can drastically affect the sound.