A Quote by Nina Simone
Tomorrow, I might be in a different mood and you wouldn't recognize my voice.
Related Quotes
It's fun to use all of my range; there are so many different colors and textures that come out, revealing different parts of my voice. I know what my voice is capable of, and I try to fit it to each song, evoke a mood.
Justice is conscience, not a personal conscience but the conscience of the whole of humanity. Those who clearly recognize the voice of their own conscience usually recognize also the voice of justice.
When you recognize that there is a voice in your head that pretends to be you and never stops speaking, you are awakening out of your unconscious identification with the stream of thinking. When you notice that voice, you realize that who you are is not the voice - the thinker - but the one who is aware of it.
Voice is one of the most elusive qualities in any story. We recognize it when we hear it, but it's hard consciously to create an authentic voice. Somehow voice seems to be the natural manifestation of all the narrative decisions we've made so far. We discover it more than we fabricate it.
I am interested in levels of brain discourse. How articulate are the voices in your head? You know, there's a different voice for the phone, and a different voice if you're talking in bed. When you're starting off with a narrator, it's interesting to think, where is their voice coming from, what part of their brain?
I did a voice for Odo, but people don't recognize you by your voice.
Never do today what you can put off till tomorrow if tomorrow might improve the odds.
To see, to hear, means nothing. To recognize (or not to recognize) means everything. Between what I do recognize and what I do not recognize there stands myself. And what I do not recognize I shall continue not to recognize.
I recognize that knitting can improve my mood in trying circumstances
This approach to voice is designed to liberate the natural voice and thereby develop a vocal technique that serves the freedom of human expression. The basic assumption of the work is that everyone possesses a voice capable of expressing, through a two- to four-octave natural pitch range, whatever gamut of emotion, complexity of mood, and subtlety of thought he or she experiences.
There are millions of ways to not be writing. You say you're not in the mood, you'll pick it up tomorrow.
When I go on the set, I'm so rushed. When I see the actors at rehearsal, when I love it, I want to keep the mood - my mood and the actors' mood also. So I have to push the crew faster. I don't want to lose the mood.
The thing that you're faulted on today is not that you are too tough, or not that you aren't careful. It's that you might have been too soft. People want that red meat now because you have to keep up with the mood and the mood today is harsh. It really is.
Along the way, I've had different advice from different music producers. I've been told to tone it down, that the quiet parts of my voice are appealing and there's harshness to the loud part of my voice.
Who can assure us that we will be alive tomorrow? Let us listen to the voice of our conscience, to the voice of the royal prophet: "Today, if you hear God's voice, harden not your heart." Let us not put off from one moment to another (what we should do) because the (next moment) is not yet ours.
There were times, I could say, later in the career, that I wished that my voice would be deeper for materials that I might've wanted to select to do. But that's the style of my voice. There's nothing I can do about the heighth of my voice. And so I learned to deal with it.
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