A Quote by Morgan James

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 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.
When I think about Oz, when he was a teenager, I'm just reminded of what an excellent blues voice he had. He had a large voice. When we did the Aynsley Dunbar song 'Warning' and 'Black Sabbath,' his voice is so right. It's really round, and it has that pain from within in his voice.
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.
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.
Hormone replacement therapy does not change or affect your voice. And I have no problem with my voice: I really like my singing voice, I don't feel any dysphoria with my talking voice.
In fiction the narrator is a performance of voice, and it can be any style of voice, but I'm interested in the ways that a voice that knows it's telling a story is actually telling a different story than it intends to. In the way that I can sit here and tell you what I had for breakfast, but I'm really telling you that I'm having an affair, something like that. And I don't think my writing is plain, but I think a lot of my characters are just talking. There is vulnerability there, in that we can start to see through them, we can start to see where they're deceiving themselves.
Like Hemingway and Faulkner, but in an entirely different mode, Fitzgerald had that singular quality without which a writer is not really a writer at all, and that is a voice, a distinct and identifiable voice. This is really not the same thing as a style; a style can be emulated, a voice cannot, and the witty, rueful, elegaic voice gives his work its bright authenticity.
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'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.
I had a hole in my voice. It's an area in the voice where it's air. It's just - there's no - it's just very airy. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in that middle area, it was really hard. It was like a passage. And many singers go through this and work it out. But I realized in jazz, I could just take advantage of that and take advantage of having a voice that was very different in different areas.
I think that a huge positive that's come out of me having successful competitions as an athlete has been that, through the years it's become less and less about personal victory and more about strengthening a platform for me to have a voice in the world and I could really talk about anything I wanted to and I've chosen to make my voice be heard and be recognized for some of the charities that I really care about and work very closely with.
We're always being told 'find your voice.' When I was younger, I never really knew what this meant. I used to worry a lot about voice, wondering if I had my own. But now I realize that the only way to find your voice is to use it. It's hardwired, built into you. Talk about the things you love. Your voice will follow.
I think a lot of people think being in the kitchen is being really serious, and especially that baking is very serious, very straitlaced. For me, it's about figuring out your voice, finding your personality, and getting in the kitchen to explore.
'Selma' is a story about voice - the voice of a great leader; the voice of a community that triumphs despite turmoil; and the voice of a nation striving to grow into a better society. I hope the film reminds us that all voices are valuable and worthy of being heard.
There was a whole cut of the movie where Tom Holland decided to try a woman's voice for the voice of Chucky, proceeding from the logic that it worked with Mercedes McCambridge voicing the voice of Satan in "The Excorsist" so he thought he would give it a try. It didn't really work. Chucky just sounded kind of gay.We brought that back in Seed of Chucky.
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.
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