I've just always sung - just always sung. My voice has always been my best friend.
For all their talk about the virtues of democracy, many incumbent politicians really don't like it when voters have a voice-not if that voice is effective.
In 1974, when I started working with the material that became Horses, a lot of our great voices had died. We'd lost Jimi Hendrix and Jim Morrison and Janis Joplin, and people like Robert Kennedy, Martin Luther King and Malcolm X.
Like how stars might sound. Or moons But not mountains. Too floaty for mountains. It's a sound like one planet singing to another, high stretched and full of different voices starting at different notes and sloping down to other different notes but all weaving together in a rope of sound that's sad but not sad and slow but not slow and all singing one word. One word.
The confessions don't speak with one voice. They are more like a cluster of closely-related but distinct voices - a kind of choir, if you like.
A first-person voice helps to ensure the uniformity and cohesiveness of the narrative; it gathers unto itself incidents and characters in its unstoppable progress toward the story's end.
Enya never writes a bad melody. That's first and foremost her secret. As she goes along, she'll start changing the dynamics, pushing here and there so that not everything is perfectly in unison. It adds a texture you can acquire only from having different voices. The variations lead to interesting quirks. It's an integral part of the Enya sound.
It doesn't matter to me whether I write in a man's voice or a woman's, or first or third person for that matter. Those choices come down to the story and I just go with it.
To make your voice heard is difficult. Sometimes we have to burn ourselves in order to be heard. It is out of compassion that you do that. It is the act of love and not of despair.
The invitation to repent is rarely a voice of chastisement but rather a loving appeal to turn around and to “re-turn” toward God.
If you do not value libraries then you do not value information or culture or wisdom. You are silencing the voices of the past and you are damaging the future.
Simply adored Timothy Schaffert's The Coffins of Little Hope: the voice of Essie, the narrator, is terrific & the last line blew me away.
Genuine bravery for a writer... It is about calmly speaking the truth when everyone else is silenced, when the truth cannot be expressed. It is about speaking out with a different voice, risking the wrath of the state and offending everyone, for the sake of the truth, and the writer's conscience.
Once the social and spiritual opening was created for women in the form of spiritualism, suddenly ambitious women who wanted to participate in the culture had a kind of a voice.
You know, my dear, I insured my voice for fifty thousand dollars.
During the Mavelmania days in the late '60's I got a phone call one evening and I answered it and this voice said, "Mike Royer? This is Jack Kirby. Word is you're a pretty good inker." That's how it started.
They spoke truth and a lot of people listened.... that voice, Kurt we miss you.
When I hear music as a fan, I see fields. I see landscapes. I close my eyes and see an entire universe that that music and the voice, or the narrative, create. A music video-and any other kind of visual reference-is created by someone else.
We're all being segregated or sent to our different rooms to watch television that's geared only for adults, to be honest. There's very little fare - outside of cartoons and a few things for children (and) I guess (some reality shows like) The Voice - that can be watched by the entire family.
I was never afraid to step out and make a decision. It might have been the wrong decision. I'm not afraid to tell somebody if I think they're wrong, as long as I know that I'm right. I would always try to make sure that I was right and then I'd voice my opinion.
Paul Otremba’s remarkable first book, The Currency, is an intriguing foray into lyric epistemology that tries to come to ter ms with the implacable, paradox-ridden nature of knowledge and experience. These are deeply felt, deeply meditated poems guided by a sensibility highly attenuated to the physical world. In their openness to friendship and love and in their fearless directness, they remind me of the work of Larry Levis and Jon Anderson. Like Levis and Anderson, Otremba promises to be an influential and important voice for his generation.
I was blown away by the control and the range that I was hearing. I'm listening to Pavarotti and thinking, What the hell have I been doing with my voice all these years?
Sport taught me how to goal set, it really gave me a voice and identity.
When you're writing you're constantly fighting demons to sit down and do what you do. If you listen to the voices outside your head, in addition to the ones inside your head, you'll never get anything done. There's enough inner strife.
She stood in his kitchen, watching him toy with the ring in his lip. It wasn't quite that he was biting it, but sucking it into his mouth. He did that when he was concentrating. It isn't sexy. He's not sexy. But he was, and she was staring at him like a fool. "wow" she whispered (.....)"Wow, huh?" His voice was low, husky. His chair creaked as he stood. His footsteps seemed strangely loud as he closed the couple yards between them. Then he was beside her. "I can work with wow
