A Quote by Larkin Grimm

I've always been curious about people's psychedelic experiences, and I kind of had this assumption that I was going to have some kind of crazy mindblowing psychedelia thing happening, but actually, it was very quiet, and I didn't have any hallucinations at all. Nothing changed, except that suddenly I could hear the voice of my conscience, which I didn't ever think of as being a real voice. And ever since having that experience, I've had that voice in my head and followed it occasionally.
The main thing was finding this... voice that I had interest in, which I'll call the quiet-yet-stoic voice: the very quiet yet very strong voice that I developed, that people would want to hear and that was worth paying attention to.
Ever since I was first read to, then started reading to myself, there has never been a line read that I didn't hear. As my eyes followed the sentence, a voice was saying it silently to me. It isn't my mother's voice, or the voice of any person I can identify, certainly not my own. It is human, but inward, and it is inwardly that I listen to it. It is to me the voice of the story or the poem itself.
I think most of us, as writers, have had experiences where you get edited and it doesn't feel like your voice at all. And so it's been nice to go through the experience of having a lot wind up on the cutting-room floor, and yet still feel that your voice is being - not purified, but made more yourself. I think that's a very rare thing.
Whenever conscience speaks with a divided, uncertain, and disputed voice, it is not the voice of God. Descend still deeper into yourself, until you hear nothing but a clear, undivided voice, a voice which does away with doubt and brings with it persuasion, light, and serenity.
What is the psychedelic experience? What promise does it hold for a sane future for our planet and our children? And what is it about it that kindles the kind of loyalty that I feel coming from the people in this room this evening? And I submit to you that it is nothing less than the rebirth of a voice that has been silent for at least a thousand years, the still small voice of the Logos of the planet.
Geoffrey's personal style was very different from mine. He has a lovely speaking voice, a quiet speaking voice. But at Cabinet we always reported on foreign affairs - we always had this quiet voice. It was so quiet sometimes I had to say 'speak up'. And he gave it in a way which wasn't exactly scintillating. And you know, foreign affairs are interesting. They affect everything that happened to our own way of life, and they are exciting. And so we just diverged.
I had a real stage school voice and I could do loud things, but it's not about being loud, it's about sensitivity and subtlety in music. You can do so much more with a quiet voice than with a belter.
Ever since I was little, people would always make jokes about my low voice. But I think it's so cool that you don't have to have the picture-perfect, girly voice to do an animated film. I think it's great for kids with different voices to know that they could do something like this.
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.
But what I would like to say is that the spiritual life is a life in which you gradually learn to listen to a voice that says something else, that says, "You are the beloved and on you my favour rests."... I want you to hear that voice. It is not a very loud voice because it is an intimate voice. It comes from a very deep place. It is soft and gentle. I want you to gradually hear that voice. We both have to hear that voice and to claim for ourselves that that voice speaks the truth, our truth. It tells us who we are.
I was a boy soprano. I had a natural kind of voice and then trained it after my voice changed.
I would very honestly just tell you that what I tried to do was simply respond to inquiries from people as they came in. Where I've thought I could say something useful, I've tried to add a voice that was, frankly, a dissident voice earlier on, but one that I think has become a more mainstream voice-and not because I've shifted. I think that the critique I had of what was going on in our financial system from six, eight years ago-after seeing some of what we've suffered through and even since the cataclysm itself-in terms of the structural changes.
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.
Many people are laughing when they see me, but I'm playing Mrs.Baskets all pristine. I'm playing it not-Louie. I'm not being Louie. I'm just being the character that I think it should be. I had to make a decision as to whether I was going to change my voice or not, but we decided for me not to change my voice, and I think that was the best thing ever, because I think it would've made a big difference in the character. I don't think it would've been as good.
I had a very low voice for the character in the show. I said, "That's not actually my voice. That's the character's voice." I'm being such an actor.
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.
This site uses cookies to ensure you get the best experience. More info...
Got it!