As much as I love to slay a red carpet hitting the ground running with ‘Beale Street’ and ‘Native Son,’ representing two such important voices in James Baldwin and Richard Wright let people know that I’m an artist and I really have something to say with this gift.
It is a huge myth that our voices don’t matter, that our vote doesn’t count.
That is one of the coolest things about WWE and wrestling in general. The fans have this very unique voice and this very unique power, and in no other sport and no other form of entertainment can the fans make their voices heard and it effect change.
Walking down the red carpet, suddenly I felt very special and different. All the flashlights from cameras and requesting voices from the media, the scene, it was just like what I remembered seeing on TV or a movie when I was a little girl – the scene only when movie stars appeared.
On TV, it is more efficient to use voice-over people because it is really hard to get celebrity voices to recur in a series.
I loved things like Destiny’s Child, and Amy Winehouse’s first record came out when I was 11 years old. But as a young, young child, I was just surrounded by Stevie Wonder, Whitney Houston, Chaka Khan – just massive, soulful voices.
The miracles of the church seem to me to rest not so much upon faces or voices or healing power coming suddenly near to us from afar off, but upon our perceptions being made finer, so that for a moment our eyes can see and our ears can hear what is there about us always.
I hope that young people will also look to politics as a vehicle to not only have their voices heard, but actually to be the change makers that they want to see. They are disaffected, understandably, but I hope that young people will not only turn out to vote but also run for office.
We need not wait for further, well-placed home video cameras to see that low-intensity warfare is being waged against low-income minorities. We need only listen to the voices of the poor; they can testify that they are dehumanized, disparaged, and despised by the police.
When we engage in the critical decisions about our nation’s future budgets, I want progressive voices at the table to argue that we must protect the most vulnerable in our society and demand fairness in budget cuts.
I’ve got many different voices – I have a Southern girl, an Irish girl. I have a gibberish language that you’d have to decipher. I guess I try to never take myself too seriously.
Somalis in Minnesota have worked so hard to get their voices heard in the political process.
I, for myself, have wanted to get more into producing because I want to be a part of the conversation and be one of the voices in the story we’re trying to tell.
Sometimes you forget where the heck you are but when you get on stage, you know by the look on the people’s faces and the accent in their voices where you might be.
My favorite type of music to sing to would be rock and roll, Tenacious D, Led Zeppelin, some Queen – I love all of them. I love singing to them because they’re all just great voices. I love listening to very obscure jazz.
As one of the voices of rural New Yorkers in Congress, I am committed to supporting efforts such as these that will make a real impact in people’s lives.
Men should look at the world as if something is wrong when their voices predominate. They should feel it.
Fear keeps us focused on the past or worried about the future. If we can acknowledge our fear, we can realize that right now we are okay. Right now, today, we are still alive, and our bodies are working marvelously. Our eyes can still see the beautiful sky. Our ears can still hear the voices of our loved ones.
What’s more enchanting than the voices of young people, when you can’t hear what they say?
One of the main focuses of my training sessions is to help individuals find their unique voices in the learning process. We all have our strengths, our weaknesses, our styles of learning, our personalities. Developing introspective sensitivity to these issues is critical to long-term success.
We always felt it helped during live shows to have multiple lead singers to give our voices a break.
The power of storytelling – of elevating the voices and examples of incredible leaders who have overcome odd after odd – remains absolute.
The problem with Alien Voices ‘was we had four really terrific years. And then it began to be about selling: Simon & Schuster wanted whatever, 40,000 units sold a year.’
For the theatrical experience to survive, spectacle films need to expand their definition of what they can be. They need to be unique and true voices of the filmmakers behind them. They can’t just be copying what came before them.
As I’ve written more, and as other Indian American voices have grown around me, I strive harder to find experiences that are unique yet a meaningful and resonant part of the American story.
Beguiling voices in the world cry out for ‘alternative lifestyles’ for women. They maintain that some women are better suited for careers than for marriage and motherhood.
I believe we can make progress on bringing true equality and fairness back to our government if we continue to work together and make our voices heard.
So many women don’t have voices in their governments.
The most powerful political voices are those with a different way of seeing and processing the world and the sounds that emanate from it.
It’s so critical for people frustrated with the economy, with changing tides in government, who aren’t able to hear their voices, questions or their ills being talked about, to have a place for discussing what others won’t.
I became the storyteller of South Side Chicago. I used an old Kiwi liquid shoe polish as a microphone. I’d go around the house interviewing everybody, telling stupid jokes, doing voices. I mimicked Sidney Poitier, Sammy Davis Jr., people on ‘Laugh-In,’ Flip Wilson.
I myself have suffered periodically from hearing voices at night when I’m trying to sleep.
I’m a big fan of British journalists like ‘The Independent’s Robert Fisk, but it’s hard to find voices like his in the U.S.
When I did ‘Opportunity Knocks’ at 14, it was singing in other people’s voices. So I’m more comfortable doing that.
I encourage people to find and use the power of their voices just as much when I do not agree with those voices as when I do agree with them.
We learn best to listen to our own voices if we are listening at the same time to other women – whose stories, for all our differences, turn out, if we listen well, to be our stories also.
I tend to focus on young people and on giving a voice to groups of people who don’t normally get their voices heard.
I want to have an empire. I like being in front of the camera, performing – but I would like to get to a place where I’m also executive producing and bringing other people along. People of all different walks of life, highlighting their voices.
I think satire suffered under Obama, but not because of Obama. People are more sensitive now than ever, and strong satirical voices are stifled because of that. I don’t think a Clinton presidency would change that.
I have been ‘absorbing’ people – their voices, their mannerisms – all my life, to the point where I am a sort of Frankenstein of different people. My own speaking voice is, in fact, a mixture of how my two best mates speak, because they are cool, and I am not.
When you write for a show that’s not yours, your job is to hear the voices of the characters and write as best you can for those voices.
Voice actors I used to know who were starting out in comedy were guys who did a lot of voices. They were usually comedy actors who developed their comedy by doing tons of impressions and voices that were usually very funny. And I never did any of that, so that’s, I guess, why I don’t consider myself a voice actor.
The Internet is probably the most important technological advancement of my lifetime. Its strength lies in its open architecture and its ability to allow a framework where all voices can be heard.
I’ll agonize over sentences. Mostly because you’re trying to create specific effects with sentences, and because there are a number of different voices in the book.
The job of the director is to make certain that the film has one voice and a sense of a single vision, even though it’s produced by a large number of people making contributions – to turn all those contributions from individual voices into one coherent one.
When I was 15 or so, I made a conscious decision to try and sing with a big voice. Everybody I listened to had these big voices, and I wanted to try it. The blessing is that I could.
I don’t like to read contemporary fiction while writing – I need a sense of isolation, a kind of silence, and I don’t want a jumble of other people’s voices or visions getting in my way. Nineteenth-century voices don’t create static in that silence.
Due to the sweeping time frame and the voices moving back and forth, the outline for ‘The Invention of Wings’ was the strangest one I’ve ever done. I created six large, separate outlines, one for each part of the book, and hung them around my study.
Yes, I’ve already done a couple of guest voices.
There’s something in my voice tonally that’s like a boy, so I started being able to do boy voices and to be known as having a naturalistic boy tone without pushing it.
