A Quote by Trixie Mattel

I'm not good at anything! I can do, like, two voices. — © Trixie Mattel
I'm not good at anything! I can do, like, two voices.
There's a lot of magic in voices. I love voices that are very old, very gravelly, very deep. I like metallic voices; I like velvety voices. The voices of children.
We need feminist voices today, you know. In my time, we had incredible feminist voices and I'm sure we have it today, too, but in all the massive outlets, maybe the one or two or three voices are somehow disappearing.
For its part, Government will listen. We will strive to listen in new ways - to the voices of quiet anguish, to voices that speak without words, the voices of the heart, to the injured voices, and the anxious voices, and the voices that have despaired of being heard.
Two voices struggled inside me. One that wanted to be good and brave, and one that told the good one to keep her mouth shut.
I now understand what Nelle Morton meant when she said that one of the great tasks in our time is to "hear people to speech." Behind their fearful silence, our students want to find their voices, speak their voices, have their voices heard. A good teacher is one who can listen to those voices even before they are spoken-so that someday they can speak with truth and confidence.
I have always felt my role was to do anything I could to enable the powerless to speak. I want America to hear these voices because they are beautiful voices.
In the summer of 2010, I was working on a version of 'True Detective' that I was thinking might be my next novel, and it was told in these two first-person voices; Cohle and Hart's voices.
In the summer of 2010, I was working on a version of "True Detective" that I was thinking might be my next novel, and it was told in these two first-person voices; Cohle and Hart's voices.
The piano and the singing are two equal things to me - maybe not inseparable but very connected. You can say they are like two equal voices.
The more competition and the more voices - that's why I love bloggers and anything else the Internet can produce in the way of new news voices.
I love the sound of voices singing together, congregational singing, anything like gospel, or folk, or sea shanties. I spent quite a bit of time in choirs growing up, and in the world-touring music group, Anuna. It's a sound with very rich texture, voices singing together.
What The Source becomes, in a physical sense, is almost like this particle accelerator. There's all these different, discrete voices and ideas. If you just saw two of them together perhaps it might seem completely diverse and like, "Why do you have these two people together?" But as it grows and as it speeds up, it kind of creates a larger dialogue.
I have had the good fortune of being able to sing with many of the finest voices in the world, and for someone who loves voices as I do, this is an enormous privilege.
I think every fiction writer, to a certain extent, is a schizophrenic and able to have two or three or five voices in his or her body. We seek, through our profession, to get those voices onto paper.
In a thousand voices singing the Hallelujah Chorus in Handel's "Messiah," it is possible to distinguish the leading voices, but the differences of training and cultivation between them and the voices in the chorus, are lost in the unity of purpose and in the fact that they are all human voices lifted by a high motive.
In this age of censorship, I mourn the loss of books that will never be written, I mourn the voices that will be silenced-writers' voices, teachers' voices, students' voices-and all because of fear.
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