A Quote by Jessica Mendoza
A female voice can automatically trigger a reaction. The reasons why? Sound is the initial thing, and I've had people tell me that.
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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.
I think people always have - not just journalists who help their careers, I think all people struggle with this idea that a female pop artist can write all her songs. Even I do it sometimes, you see a really good female pop artist and you're like, 'I wonder if she writes her songs.' That's never really my first initial reaction to a male popstar.
When the kirtan is harmonious with so many people, it’s a tumultuous beautiful sound. We can’t hear just one voice during the chorus; or rather we do hear one voice. But that one voice is actually the sound of everyone’s voice in harmony. That’s our offering to God. And why is it so pleasing to the Lord? Because we are all cooperating for a higher purpose. We are all united for the pleasure of the center, for the pleasure of Krishna, in spite of all our differences.
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.
In the past, I've written my songs and then asked friends if they could record the vocals. I didn't want to use my own voice, because other people have much better voices. I was hearing the music with a voice that I don't have. It was a case of pulling whatever resources I had to get the sound I wanted, but that doesn't take anything away from the authorship. They are songs written by me that sound the way I want them to sound. Whether it's my voice or someone else's doesn't make a difference to the music.
But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.
I think, when you're a young composer, you're told constantly that what you're supposed to do is figure out what your voice is. "What is your thing supposed to sound like?" You know: "What's the thing you do," that everyone can recognizably tell from a long distance is you and then you're supposed to be in search of that marker and you're supposed to find it and you're supposed to live there for the rest of your life. And it seemed to me, from a young age, that was what I was encouraged to do. You find a sound and that's your sound! That's what you do.
For me, the easiest thing to figure out is the story I want to tell, and the hardest thing is to figure out the voice that's gonna tell it. And that's why I finish very little.
Think about the physical act of pulling a trigger. The amount of pressure it takes to pull a trigger or the speed it takes to shove a sharp object into somebody. The psychology behind it. Why people kill? Why people don't kill?
One thing that drives me crazy is when people tell me that I sound good for an athlete. They be like, 'You don't sound like you from Harlem.'
I had a vision how it should sound and I put all my knowledge into this product and it is a fantastic product. People still tell me that I have the best musical thing there.
And I tell you that's one of the reasons why I didn't have the friendships with the media, maybe like I could have. But I had to do what I had to do to make myself successful.
The bad thing about being a famous comedian is that every now and then someone approaches me to tell an old joke. Don't tell me jokes - I have that. People also say the weirdest things, sometimes sarcastic things, and even evil things. They like to provoke to get a reaction.
You're really creative when you're in an environment that you don't know how to handle. So collaborating was like that for me. I think that was one of the reasons why I knew I was gonna get a challenging reaction.
I hope you can understand one thing, I will like you till the day I die. Don't they say there's no reasons when you love someone? It's a lie. I can tell you one hundred reasons. Your voice... Your fingers... Your scent... Your shadow... As long as it's a characteristic associated with a woman, I like them all... That is my reason.
One of the main reasons why it didn't work out for me and Aftermath is because I felt my music should sound one way, and they felt it should sound another. But, I learned a lot from watching Dre, and when I left California, I knew it was time for me to get my own label.
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