A Quote by Jennifer Hudson

My son is very into music and really familiar with my voice. — © Jennifer Hudson
My son is very into music and really familiar with my voice.
Being Bob Marley's son has done many things for me, in terms of having a career in music. I'm very proud of my music, and I'm very proud of where I'm from. People hear that I'm Bob Marley's son, and they turn on my music to listen just out of curiosity.
In my career, I have done more than a thousand voice-overs in commercials, cartoons, and radio shows, so I'm very familiar of my voice capabilities and its range.
Corina Bartra is a very intriguing singer. On Son Zumbon ... the music utilizes tricky rhythms, the leader's haunting voice, and plenty of short solos. There is no lack on intensity in this program.
If you're familiar enough with my body of work, my voice is a familiar totem, in a sense. I guess I have something characteristic in the way that I sing, although I'm not very personally self-conscious about it, so I don't think about it that much. But when I hear the record I can tell it's me.
My primary reason for bringing my son on was to have a voice on the show [Sex&Drugs&Rock&Roll] that would bring a 25 or 26 year old point of view to it, and my son is very capable of writing that stuff.
The Son is called the Father; so the Son must be the Father. We must realize this fact. There are some who say that He is called the Father, but He is not really the Father. But how could He be called the Father and yet not be the Father?... In the place where no man can approach Him (I Tim. 6:16), God is the Father. When He comes forth to manifest Himself, He is the Son. So, a Son is given, yet His name is called 'The everlasting Father.' This very Son who has been given to us is the very Father.
Enya is a very matriarchal musical force. Her music is very feminine and she layers her voice a lot. It leaks into my music secretly on the side. There's a lot of lush layers of my voice hiding in the cracks.
What really brought out the voice that I have, my soul voice and true voice, was really not getting any work and being very sad and being poor and having to sit with that. I think that's where the blues comes from.
I see parallels between Karachi and the cities that I was familiar with: a very different place, but in terms of its human stories not really very different at all. That was what excited me about the place - that it was so complex, as difficult to me as an outsider and yet so human in a way that was ultimately very familiar.
It’s wonderful, it’s expressive. It’s a way of using a part of my instrument that I’m comfortable and familiar with. The voice is such a vital part of crafting a character. I’m so pleased that I have the kind of voice that prints well and that people want to hear. I’ve had friends actually say, ‘You know, I was in the kitchen, and the television was on and I heard you.’ I love hearing that there’s something familiar about my sound, and that to some people it’s soothing.
Television is a thing that people get very familiar with. They want to hear your voice in their head.
My mother had a great voice. Not like mine, not like my sister's, not like my son's - a high soprano voice, but like a bird. I mean, really beautiful.
Bella?" a different voice called from the distance. No! Please let me be imagining that horribly familiar voice.
The strange thing about hotel rooms is that they look familiar and seem familiar and have many of the accoutrements that seem domestic and familiar, but they are really weird, alien and anonymous places.
I was into music from a very early age, and I was also - I don't really talk about this that much - really into horses. I learned a lot about rhythm and about voice from that.
In all honesty, I'm not really familiar with Stevie Wonder's music, since country is more of my style. I really have no idea what I am doing.
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