A Quote by Cecile McLorin Salvant
I never wanted to sound clean and pretty. I always wanted to have kind of a certain natural quality to my voice, and I wish it were more rough than it is.
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My number one focus is and will always be football. I wanted to make sure that companies I partner with not only respect that, but also make sense and are quality products. I think Klipsch is synonymous with quality in the sound industry, so it was a natural partnership.
Even when I was Miss World, I did all the dressing up I could, so the pretty face thing was done. But it was never about just looking pretty with the crown, I always wanted to make it more than that - I wanted to make it about beauty with a purpose. So I carried that into my films as well.
When I was coming up in Miami, the music in the city at the time sounded completely different. I loved it, but it just wasn't the type of music I wanted to make. I wanted my wordplay to be more sophisticated. I wanted the sound to be more lush. I wanted my music to sound like who I was and aspired to be - boss.
I always wanted a father. Any kind. A strict one, a funny one, one who bought me pink dresses, one who wished I was a boy. One who traveled, one who never got up out of his Morris chair. Doctor, lawyer, Indian chief. I wanted shaving cream in the sink and whistling on the stairs. I wanted pants hung by their cuffs from a dresser drawer. I wanted change jingling in a pocket and the sound of ice cracking in a cocktail glass at five thirty. I wanted to hear my mother laugh behind a closed door.
he used to think that he wanted to be good, he wanted to be kind, he wanted to be brave and wise, but it was all pretty difficult. He wanted to be loved, too, if he could fit it in.
I always wanted to make sure that I was honest to myself and that people wanted to hear an opinion that was authentic... I wanted Man Repeller to be a voice for women who felt like they didn't have a voice or for women who didn't know how to express their voice.
I always wanted to do what my brothers were doing. I always wanted to play the games they played and play rough and wear pants and go outside.
What I never wanted in art - and why I probably didn't belong in art - was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don't know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.
Growing up, me and my brother, we were kind of exact opposites. We were completely yin and yang. He was more rough and tumble, and I just wanted to play with my girlfriends.
I never wanted to sound clean and pretty. In jazz, I felt I could sing these deep, husky lows if I want and then these really tiny laser highs if I want as well.
We're not unique in our family. We're more ambitious but we're not special. I'm not funnier than anyone else in my family; it's just that we wanted more than Raleigh, North Carolina, had to offer. If my brother wanted more than Raleigh had to offer, you would know his name. My sister Lisa has a really unique and different voice, but she doesn't want that. She's a fine writer, but never said, "I want a book. I want that kind of attention."
I wanted something different. I'd been using the C+ amps for a long time, and I love them - they're one of my favorite amps ever. But on this album [Road Kings] I wanted - there were a couple reasons, actually. One is that I wanted a more aggressive sound, some more teeth and hair.
I think I always kind of wanted to be a musician but never dared to say it out loud because I never thought it was possible. I wanted to be a teacher, a lawyer, a doctor - I wanted to be a lot of other things growing up.
We never look deeply into the quality of a tree; we never really touch it, feel its solidity, its rough bark, and hear the sound that is part of the tree. Not the sound of wind through the leaves, not the breeze of a morning that flutters the leaves, but its own sound, the sound of the trunk and the silent sound of the roots.
I think it was inevitable that I get into synthesizer music. I always wanted to deal with sound more than anything else. I couldn't get the sounds I wanted out of the piano.
I think from the very beginning with 'We Are Young,' there was never any question about where we wanted the song to go and what we wanted it to sound like. And we knew that we wanted it to be big, we wanted it to be booming over the speakers at an arena or something.
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