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I guess something people wouldn't expect me to listen to are artists like Alicia Keys. But she is so incredibly talented. She has this huge voice and great work ethic, which I really respect in an artist. She is also very humble and gracious and devoted to her skill.
The heart jungle drum beat finds its voice in love and matchsticks.
In foreign policy, there are times when speaking with one voice - and it doesn't have to be mine - allows us to engage better on issues, and enables us to do things more effectively.
I still feel like I have a lot of growing up to do 'til I find the voice. Everybody has their own voice and their own thing they want to say to the world.
There are lots of actors who insist on speaking the lines themselves, and you hear the same thing from directors and the audience, but I don't think it's worth getting het up about. I think it makes more sense to use someone who speaks that country's language: that's what voice actors are for.
Adele Adkins' retro-soul debut, '19', was striking less for her songs than for that voice: a voluptuous, slightly parched alto that swooped and fluttered like a Dusty Springfield student trying to upstage her teacher, or at least update the rules.
It's hard work to find your own voice and not to copycat anything.
I know how to treat my voice to make it sound as good as it possibly can - which is still not that good.
There's only so much you can do with a male voice in dance music.
I had always sung, as far back as I can remember, for the pure love of it. My voice was contralto, and I sang in a church in Naples from fourteen till I was eighteen.
Starting out, I bet I didn't get a lot of parts because of my strange voice. I'm not consciously thinking, 'Hey, sound like a squeaky dog toy mixed with a bagful of rusty nails.' It's just what my voice has done.
Doing voiceovers is so great because even though many people would think it's just your voice, you really do use all your physicality. I've done everything from playing a butterfly to Alice in Wonderland when she's 10 feet tall, so it allows you to be an actor and build new characters.
When my sister and I were kids, swimming down in Charleston, there was this pizza parlor that had this old Dixieland band play, and I just loved Louis Armstrong and the sound of his voice, and I got up there with the band and started singing Louis Armstrong songs when I was a kid. I have no idea why, but I did it and I loved it.
In general, we like to play as a band - guitar, piano, and voice. We also tour with a bass player, a drummer, and somebody who plays keyboard and guitar. We try to play all of our parts and flesh it out to get a lush sound, while also keeping the energy of a three-piece punk act. We want to be the best of all possible worlds.
A writer has an inescapable voice. I think it's inherent in the nature, and I think that we don't control it anymore than we control what we want to write about.
I was probably 35 when I wrote the first story. The voice is kind of a mix in that it has a young voice, but it's also someone who's looking back. I like that kind of double vision.
I'd like to do more TV stuff that is live action, but I am so totally happy doing as much voice work as I possibly can. Because it really is the best work. It's so amazing. You just show up. You don't have to look good. You don't even have to brush your hair. You work for a couple of hours, and you go home.
You have to stick to what you love, as writing is such a lonely and depressing existence... stick to what you love and someone will hear your voice.
Back in those early days when I began my apprenticeship as a poet, I also tried to voice our anger, spirit of defiance and resistance in a Jamaican poetic idiom.
Linton Kwesi Johnson
The basic idea is always constructed around piano or guitar and a voice, that's what we live and die by, because if you build up from that foundation, it's going to be strong.
I always say the person who taught me how to sing indirectly because I listened to her all the time was Brandy. I fell in love with her voice when I was six years old. I always loved Brandy.
Unlike other voice-over situations which are done in a recording studio, Roger Rabbit was live action and animation combined, and there was a time factor, so my voice was recorded live on the set. So I'm on the set rehearsing and recording my voice as a performance with the other actors, and they're all wearing costumes, and it made sense to me.
I seem to voice a lot of sweet, kind of dumb yellow characters for some reason.
There are a lot of influences from different countries in my music. For example, I chose the guitar in my music, I think that it is a feminine instrument, so when I do not sing, the music expresses my voice.
Comeback records always worry me, especially when they're made by one of my heroes, and I'd heard stories about Gil Scott-Heron recently, about drug arrests and prison terms and other troubles. I wasn't prepared for the ravaged shakiness of his voice on this record or the raw spoken word pieces or the dark electronic backgrounds.
A. P. J. Abdul Kalam
Leonardo da Vinci
Martin Luther King, Jr.
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