A Quote by Brian Chippendale
That's why I started amplifying my voice at all, to capture the little sounds I make when I am pushing my body physically, drumming away.
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I hope that 'Gambit' doesn't take ten years, but it takes a little honing to get that tone and that voice exactly right. The character has such a specific voice in the comic, in the same way that Deadpool has a specific voice in the comic, that we want to make sure that we capture that voice on the page.
Just the way my voice sounds now, it's always had this little hoarse thing to it. And I'd have to do vocal exercises to make my voice clear.
It sounds a little cliché, but I wanted to capture some of the feelings or sounds that I heard when I listened to music that actually took me places.
The Little Mute Boy The little boy was looking for his voice. (The king of the crickets had it.) In a drop of water the little boy was looking for his voice. I do not want it for speaking with; I will make a ring of it so that he may wear my silence on his little finger In a drop of water the little boy was looking for his voice. (The captive voice, far away, put on a cricket's clothes.) Translated by William S. Merwin
I feel much more physically connected to my voice, and I like the physicality of the voice, and how the voice can physically occupy a song.
I always try to hit a few areas when I'm making a record; I want the sounds to be experimental and exploratory, I want the drumming to be distinctive, and I want my voice to be able to shine through.
One of the most powerful aspects of drumming and the reason people have done it since the beginning of being human is that it changes people's consciousness. Through rhythmic repetition of ritual sounds, the body, the brain and the nervous system are energized and transformed. When a group of people play a rhythm for an extended period of time, their brain waves become entrained to the rhythm and they have a shared brain wave state. The longer the drumming goes on, the more powerful the entrainment becomes. It's really the oldest holy communion.
As I aged and I got stronger artistically, I really started to value my voice in performance - my 'voice' meaning my body, my technique, and my style. Then I started to really feel that flower as well. That's when I started to feel like, 'Wow - now I understand what my beauty is.'
I had to get the voice back, the precise pitch of Sid's voice and I'd forgotten that I'd pitched him higher than my regular voice, so that was a little difficult to begin with. It was especially hard because we started recording in the morning so I had to warm up a lot and my usual voice is a little more gravelly.
I started teaching yoga in 1974 in Colorado, I was living in Winter Park, and I started teaching skiers. At that point I was teaching more of the Sivananda system and just pushing it up a little bit to make it a little more rajasic a little more active, a little more physical. People would come, and feel great, and by the time I left Colorado in 1980 I'd taught pretty much everyone in town - the ski patrol, ski instructors, the bar owners.
I have a voice inside. A voice that I am forever trying to silence. A voice that calls me in when I want to be out, playing. A voice that is always sad. That is always terrified. That always wants to sit in the darkened room, away from noise and movement and colour - away from any experience that could prove to be challenging.
Being physically fit helps me think better and feel better. I only have this one body. I want to make the most impact that I can; taking care of my body helps me help others. That's a big reason why I do it.
You are always pushing, pushing, pushing but it is when you do that that your body can break down.
I accept my body. I accept how I am and make the best of what I am given. Children orientate towards examples. That's why I talk solely positive about my body in front of my daughter.
Overspending is as certain a part of the holiday season as overeating. But pushing away from both the table and the cash register at least a little bit sooner can make the post-holiday hangover hurt a little bit less.
What's funny about my voice is, no matter what I sing, I sound like I'm really sad. I don't even mean to do it, it's just something my voice has. I think that's one of the reasons why Okkervil has been dubbed as really mopey - I have this tone to my voice that sounds like that.
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