Voice Quotes
Most Famous Voice Quotes of All Time!
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I try and sit on the fence because as soon as you voice any kind of opinion, people begin to think you're an idiot.
With Scarlett Johansson, I always thought she was pretty, but then when I heard her sing, there was just something about her voice that made her really, really attractive to me. And I think she would be fun to hang out with.
And if this House is to be scared, by whatever influences, from its duty, to receive and hear the petitions of the People, then I shall send my voice beyond the walls of this Capitol for redress.
I didn't really like my Sydney accent - nobody likes the sound of their own voice - and when I was a little younger tried to change my accent gradually. But I've only ever really lived in Sydney and Los Angeles, so I haven't been influenced by the accents of some far-off land.
Bubbles was a very good dancer. Tremendous dancer. He was one of our leading dancers of the country at that time. And, of course, he didn't have much of a voice.
In my own art, I try to use my personal voice and effort to enable some Chinese people to see the possibilities of another kind of China. A more open China.
I'm not Bill Evans. I'm not Keith Jarrett. I'm basically a singer who plays along with his voice.
Ninety-nine percent is in the delivery. If you have the right voice and the right delivery, you're cocky enough, and you pound down on the punch line, you can say anything and make people laugh maybe three times before they realize you're not telling jokes.
If you have the right voice and the right delivery, you're cocky enough, and you pound down on the punch line, you can say anything and make people laugh maybe three times before they realize you're not telling jokes.
Last season when things weren't working out, I thought we needed a different voice around the place.
Your spoken voice is a part of it - not a big part of it, but it's something. It puts people at ease, and once again kind of reaches out and makes a bridge for what's otherwise difficult music.
My son is in a band, and he's a singer, and his vocals... they're screaming-growling stuff... and he's got a pretty reasonable voice. Yet he practices really hard to get the screaming-growling thing without losing that voice every five minutes. So I'm, like, 'Hats off to you.'
There's not a whole lot to do in Athens. When I was 13, I just started entertaining myself by writing songs. I'd sit in my room for 10 hours playing the same song, stacking vocals, trying out different drum beats, realizing no one would ever hear this but having so much fun. I guess I got my voice from just doing that so often.
I can hear someone's voice once, and I can pretty much mimic them. Not to make fun, but I can do an impression of them pretty well.
As for my mom, her biggest gift to me was teaching me I can and I must use my voice. I owe her a debt of gratitude.
The Apple mentality is really about creating focus, quality and a voice that people understand and can relate to.
I wanted to emulate Bob Flanagan, the high voice in the 'Four Freshmen.' I wanted to sing high like he did.
Elvis is not so difficult as Johnny Cash because his voice is so distinctive. If you try to copy Johnny Cash, it's just going to sound dumb.
Writers can express ideas and emotions that are important to them but have no other means of expression. Some of these ideas may be fantastic, and some of the emotions may be given clearer voice in fantastic fiction.
At Morehouse, I found myself and my voice, and I didn't want to lose that at Yale.
The amazing thing now is that most of those so-called critics who were telling me to find my own voice seem to have lost theirs.
I was only ever part of 'Lost' - a very small part of an extremely talented writers' room, where as a writer, it's sort of your job to sublimate your ego and work in the service of the show and the show's voice.
Don't just rehash what came before. Find new things to do with it, in your unique voice.
I wanted to get rid of the element that had been considered essential in pop music: the voice.
I think one of my pursuits over the years is trying to answer the question of, 'What else can you do with a voice other than stand in front of a microphone and sing?'
The redefined M.D. is able to access the still, small voice that says I'm about to make a mistake - or I've just made one and I need to undo it before it's too late.
With my trumpet voice, I love gritty, plunger, growly sounds. But vocally, I love Anita O'Day - a raspier but definitely softer sound. Part of the fun has been finding vehicles or writing for both of those sounds.
I like the sound of a Silvertone amp for myself. It's kind of cleaner guitar sounds when necessary, maybe a little less metal-sounding. But it really doesn't matter what amp I play through; it's really the way I voice chords and play guitar, how I strike the strings.
It doesn't matter who you love or who you want to cheer for; at the end of the match, you are on your feet, you are going crazy, you have lost your voice, and we did our job.
Men have a lot less to write about, unless you're somebody like Tom Waits or John Lennon. And the female voice is much more suited to melody. Men have this barky thing - we're domesticated apes with a microphone.
There's something about when it gives a shockingly incorrect answer with the same chirpy HAL 9000 voice that feels so hopeful. Watson won't get discouraged, it will just try again.
I listened to classical guitar and Spanish guitar, as well as jazz guitar players, rock and roll and blues. All of it. I did the same thing with my voice.
Marketers sometimes get caught in this lie that you must talk to people only in the voice that they recognize.
When I do a T.V. show, I hear all these artists in their dressing rooms doing scales - I've never done it because I've never had voice training. What I do to prepare is get in my car and sing along to the radio for about 20 minutes.
When I was in the recording studio, I needed to concentrate on what my voice was doing, which is rather difficult if you can't actually see what you are supposed to be singing.
The crux of our power isn't only in our voice. It is in our economic function in society.
I started doing comedy when I was a teenager with Tom Kenny, who is the voice of SpongeBob. I don't want to name drop, but, I've known him since I was 6.
Shyam Benegal has found a lovely voice in this film. We've all seen the kind of cinema he's come up with over the years. His films like 'Mandi,' 'Manthan,' 'Sooraj Ka Saatvan Ghoda' all have revolutionised the face of Indian cinema. And in 'Well Done Abba,' he has once again found a relevant subject, which even youngsters can relate with.
When you hear in the tape recordings Nixon's own voice saying, We have to stonewall, We have to lie to the Grand Jury, We have to pay burglars a million dollars, it's all too clear the horror of what went on.
When I started, I was doing all the good comedians I'd ever seen. Then I developed my own voice. My routines are my natural way of looking at the world.
I sometimes wonder, with the Oxbridge comics, the broadcasters seem to say, at some point, now I trust you to do a documentary, you can be the voice for a maths show, or whatever. I don't think we're ever considered in that way.
I stopped smoking. When I stopped smoking, my voice changed... so drastically, I couldn't believe it myself.
Men who are not given any voice in this because of the secret nature of the courts, what they're left with is dressing up ridiculously, but at least using humour to try and draw attention to their kids.
I consider my voice to be a centrist moderate voice among the nine Democratic candidates.
Rural voters believed the Democrats traded millions in campaign cash at their expense. Along came a guy named Trump to give these voters a political voice.
I didn't know what kind of sound I wanted to make. I didn't have no influences. I just heard my voice in the microphone and was like, damn, I like that.
I fell in love with my voice. I had something inside of me that was like, 'I like this.'
Since I got an audience before I even had a comic voice, my material that really wasn't worthy of an audience somehow got it, slightly unfairly.
Grandfather, Great Spirit, once more behold me on earth and lean to hear my feeble voice.
We always do kinda like the bare bones representation or variation of the voice and drums, which is what we feel is the foundation or backbone of rapping and hip hop.
You are an instrument if you understand your voice and how to use it - this sound, that sound and certain ranges and different pitch. Within that I try to find a rhythm and play the voice as if it was a horn.
It's just different discipline, just doing the voice over. I guess I've done about 5 or 6 audio books in the past and I do the animated voice for a show called Fatherhood on Nickelodeon.
The voice over is a hat you put on right now as opposed to worrying about going through wardrobe, and having to look a certain way. You just got to let your voice do the talking for you.
Me personally, I'm always going to lead by example first. But there are moments where I need to use my voice and go up to a guy and get my message across.
My voice, my likeness is my livelihood. That's it. I keep it simple. I pick good products.
When I was younger, I did what I now call 'extreme singing.' I could do this thing where I would sing really high. I can't really do that anymore, at my age. My voice has shifted. It's changed.
I took 'Grease' to play my trump card, my voice, and get attention that would lead to auditions for serious work like 'Angels in America.' But I backed myself into a corner with 'Grease,' and it took me 17 years to get out.
Radio is such a perfect medium for the transmission of poetry, primarily because there just is the voice, there's no visual distraction.
I know my voice has a limited range of motion; I don't write dramatic monologues and pretend to be other people. But so far, my voice is broad enough to accommodate most of what I want to put into my poetry. I like my persona; I often wish I were him and not me.
We know Roger Ebert loved the 'Sun-Times' and his career as a newspaper columnist. But ironically, it was his illness and losing his voice that caused him to explore another venue.
A spiritual voice is urgently needed to underline the fact that global warming is already causing human anguish and mortality in our nation and abroad, and much more will occur in the future without rapid action.
That guy in a twenty-five cent bleacher seat is as much entitled to know a call as the guy in the boxes. He can see my arm signal even if he can't hear my voice.
It's very important that we give a voice to the voiceless in terms of media; because media is a global phenom and it portrays you dependent upon what controls you have and the writers are doing great work.
I am committed to standing up for the LGBTQ community and being a strong voice.
I'm going to save my public voice largely for the issues where I have some depth.
Yeah, I record on voice memos. I got like 1,000-something memos. If I'm in the middle of something and I can't get it done, I'll jot it down, but I never write a rap out, ever.
It's very awkward to watch yourself on TV because I hate the sound of my voice. It's those moments where you're like, 'I do that?'
The mere fact of an American being present could help save the lives of innocent people. That's why I believe in the importance of bearing witness, to become a voice for the voiceless.
The voice of women, the voice of those most closely involved in bringing forth new life, has not always been listened to when it pleaded and implored against the waste of life in war after war.
My voice had a long, nonstop career. It deserves to be put to bed with quiet and dignity, not yanked out every once in a while to see if it can still do what it used to do. It can't.
T Bone is genius. The way they've recorded my voice and the instrumentation to these songs is really quite extraordinary.
For one thing, I teach my students what my teacher for twenty years, Paul Gavert, told me, 'The voice follows... the voice follows everything about you... who you are.'
T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.
I always was really confident about myself, about my voice, myself as a person, my body, all of those things, but as a songwriter - I just didn't identify as a songwriter at all.
When you hear me sit at the piano by myself and do one of those super-personal, confessional songs, that's where my true voice is.
Nowadays you don't need to be a senator or a CEO or a celebrity to have a voice in the media, and if you happen to be a senator, a CEO or a celebrity, you have a thousand people each with their own respective audiences to hold you accountable.
People like my voice and say I can sing, but I don't like microphones in front of my face: it distracts me.
One forgets too easily the difference between a man and his image, and that there is none between the sound of his voice on the screen and in real life.
He would catapult you forward, and that was his intention with the Jazz Messengers. He would take young people with a potential and help them develop a voice as a player and as a writer.
It Might As Well Be Spring... I used to sing that as a young girl in my voice lessons. Then I picked it up again and it spoke to me in a whole new way.
I'm always happy to work with my brother and especially to be a part of 'The Voice Kids.'
I was just writing songs because, if a song shows up, you've gotta write it. I didn't know what to do with them. I didn't have any faith in my voice.
My voice is rather quirky. It's abysmally low. People often think I'm putting it on at first. Think drunk Darth Vader. Or Barry White singing country. It suits my dark material. When I do readings, I really play it up and go subterranean. I can make the phone book sound terrifying.
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