A Quote by Bruce Springsteen
In the early years, I found a voice that was my voice and also partly my father's voice. But isn't that what you always do? Why do kids at 5 years old go into the closet and put their daddy's shoes on? Hey, my kids do it.
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There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.
My voice has always been kind of distinct - even when I was four years old, my mom told me that people would be like, 'Why does your daughter always sound like a chain smoker?' I've always had this deep, raspy voice.
We cannot have peace on Earth until we learn to speak with one voice. That voice must be the voice of reason, the voice of compassion, the voice of love. It is the voice of divinity within us.
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.
There are no words and there is no singing, but the music has a voice. It is an old voice and a deep voice, like the stump of a sweet cigar or a shoe with a hole. It is a voice that has lived and lives, with sorrow and shame, ecstasy and bliss, joy and pain, redemption and damnation. It is a voice with love and without love. I like the voice, and though I can't talk to it, I like the way it talks to me. It says it is all the same, Young Man. Take it and let it be.
It was this thing I used to do, where I would get on the phone and put my voice in a man's voice like, 'Hey, you're talking to Tom.'
On 'Voice Kids' we were always so conscious to really take care of the kids and their families throughout the process. But to be honest the kids took it more in their stride.
Photography was so perfectly suited to my sensibility and situation, it gave me a voice, a kind of crazy, out-of-whack voice, at the beginning, but a voice. I could finally put into images bottled up feelings of absurdity and alienation - and also joy and delight.
When I had my first voice lesson I was 15 years old. And I had a really good teacher. This is what made all the difference. A good teacher will teach you the technique, but also how to listen to your voice.
My kids, they're always embarrassed when my voice shows up in something. I took them to Inside Out, and my voice comes in, and they were like, "Ugh, Dad, what are you doing? Get out of there."
If someone goes, 'Can you be sassier?' I go, 'I can be my kind of sassier. I'm not gonna put a voice on. The voice I have is my voice.'
Discerning the will of God is a very tricky thing, partly because, you know, the little voice in my head can either be God's voice or it can be my own ego doing a magnificent impression of God's voice.
I really knew how to speak - from my female voice, that "different voice" that Carol Gilligan so presciently described many years ago in her groundbreaking book. Because if we try to speak in a voice that isn't ours, we lose our power.
One overindulges when you're younger, and you pay the price in later years. But I always realized how important it was for me to take care of myself and my voice if I was gonna have a voice when I was older.
Preacher's kids need another consistent voice in their lives over the years.
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.
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