Voice Quotes - Page 92

I think when someone is injured in your family, you want to speak to the individual and you want to hear their voice and you want to make sure they are OK.

As musicians, and as people who sell material for people to hear and absorb, it's important that we use that voice wisely.

Beauty, the smile of God, Music, His voice.

And new people come in, and it doesn't go along with their politics, and they fire me, end the column, silence a voice in Los Angeles. They can't silence it nationally, but they are able to do it there.

I started out in a heavy metal band with a guy who could really play guitar, and I thought the only thing missing from Guided By Voices was a lead guitarist. In the early days, I would bring people in just to play leads, like Greg Demos and Steve Wilbur.

A poem in form still has to have voice, gesture, a sense of discovery, a metaphoric connection, as any poetry does.

Now familiar with my own particular voice and accent, my Dragon app prints out exactly what I speak into my iPad. Twenty years ago this miracle would be unthinkable.

As disciples of Jesus Christ we have a responsibility to work together with like-minded believers, to raise our voices for what is right.

There is always, in the fine arts, a physical interface between the artist's esthetic vision and the material result he seeks. The interface may be the application of brush to canvas, chisel to marble, bow to string... It may be the control of voice in song or the control of body in dance. It is the mastery of the interface that comprises the artistry; it is what constitutes the 'art' in fine art.

What was I like? I had a high-pitched voice. Sounded a bit like a girl. Spoke with a Stoke accent, tremendously naive. Overconfident. Tremendously overconfident. And underconfident at the same time - really, really bad combination! Gets you places, though.

There was a subtlety about Peggy Lee. It was powerful. There was a valuable use of space. Everything was not cluttered. Her voice was out front and was the key instrument.

So planning something big." "If this is the work of the Overtakers, we've never seen anything like it." "It is," a voice said behind them. Maybeck slipped in alongside of them. "You about scared the pee out of me!" Charlene complained.

Before I could do anything rash, a familiar voice behind me said, "Hello, Sadie." The other girls let out a collective gasp. My pulse quickened from "slow walk" to "fifty-meter-dash." I turned and found that-yes, indeed-the god Anubis had crashed our dance.

Oh," he said to Kiyo, voice completely devoid of emotion. "I see. It's your turn again.

Roza." His voice had that same wonderful lowness, the same accent . . . it was all just colder. "You forgot my first lesson: Don’t hesitate.

Rose. Roza. Open your eyes." I've never heard heard his voice so strained, so frantic. "Don't go to sleep on me. Not yet.

How often have we all come to that crucial point in a painting where it is practically 'begging' us to stop before we ruin it? We have all had that experience and we risk failure, or at the least mediocrity, if we ignore the voice in our art.

MEMRI allows an audience far beyond the Arabic-speaking world to observe the wide variety of Arab voices speaking through the media, schoolbooks, and pulpits to their own people. What one hears is often astonishing, sometimes frightening, and always important. Most importantly, it includes the newly-emerging liberal voices of reform and hope, as well as disturbing echoes of ancient hatreds. Without the valuable research of MEMRI, the non-Arabic speaking world would not have this indispensable window.

I want to keep my voice young, with nothing heavy.

Music enabled me as a fragile young person to give voice to emotions I could barely name, and how it enables me to give my voice the unique and mysterious power to speak to others.

To name the world in your own terms, to tell your own story, is an act of authority and power. When you write, you are saying, in effect, 'I have a voice. I have a story. This is what I have to say.'

My voice sucks. I don't like the tone.

Only disciplined people become free, but their discipline is not obedience to others: their discipline is obedience to their own inner voice. And they are ready to risk anything for it.

I got swirling eyes and the capacity to shatter windows with my bare voice. Tod got teleportation and invisibility. The supernatural world is so far from fair.

I don't think it is possible to give tips for finding one's voice; it's one of those things for which there aren't really any tricks or shortcuts, or even any advice that necessarily translates from writer to writer. All I can tell you is to write as much as possible.