A Quote by Henry Rollins
If a slave were to raise his voice to his master, he risked all manner of punishment. Yet what was possible in many circumstances was to lift one's voice in song. This was a major ingredient in what is now known as blues and gospel. Slaves may have been regarded as subhuman by their cruel captors, but through music, they were proud and dignified.
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Everything comes from one thing, everything comes from the Spirit. Jazz would not exist had it not been for gospel music, the blues would not exist had it not been for spiritual blues, which goes back to slave songs our fore fathers were singing while they were out in the field. So it's all one continuous growth from one group of people. Of course jazz now is played by various cultures and colors around the world. But the stimulus is One Voice.
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.
All you have to do is go back to slavery - days, and there were two types of slaves, the house slave and the field slave. The house slave was the one who believed in the master, who had confidence in the master and usually was very friendly with the master. And usually he was also used by the master to try and keep the other slaves pacified.
The blacks of this region are a cheerful, careless, dirty, race, not hard worked, and in many respects indulgently treated. It is of course the desire of the master that his slaves shall be laborious; on the other hand it is the determination of the slave to lead as easy a life as he can. The master has the power of punishment on his side; the slave, on his, has invincible inclination, and a thousand expedients learned by long practice... Good natured though imperfect and slovenly obedience on one side, is purchased by good treatment on the other.
The expectation is this low, gravelly voice for John, but I went through his early recordings and there were songs in there where the voice was so different, I wasn't even sure if it was him singing, ... So it was interesting to me that we would see him develop the Man in Black sound. I thought it was really important that his voice change as his persona slowly solidified. The music was really the doorway into the character.
He had a cringing manner, but a very harsh voice; and his blandest smiles were so extremely forbidding, that to have had his company under the least repulsive circumstances, one would have wished him to be out of temper that he might only scowl.
At home, a man is entitled to raise his voice maybe once a year, if something really gets under his skin. At work, it's different. I raise my voice all the time. Not out of malice, but to get things right. It's never personal.
Peter stood, cleared his throat, and began to hum softly, then sing, slowly building up the song as his voice cleared. He found the old tune, the song of the Sunbird. And as he sung, as his rich voice echoed off the tall cliffs, the birds and the faeries lent him their voice and soon the tune drifted throughtout the garden.
We learn a language through its song, and even if you don't have music you have the song of people you love's voice, and you'll notice that song in their voice.
Now I had lived long enough and had heard enough from urchins my age and from other slaves, to distrust the person who calls himself merciful, or just, or kindly. Usually these are the most cruel, niggardly and selfish people, and slaves learn to fear the master who prefaces his remarks with tributes to his own virtues.
I am the descendant of slaves, of people that were born from a slave and a slave master.
I often compared myself with a slave. Slaves were taken forcibly from Africa, and so was I. Slaves were sold a couple of times on their way to their final destination, and so was I. Slaves suddenly were assigned to somebody they didn't choose, and so was I.
His forward voice now is to speak well of his friend. His backward voice is to utter foul speeches and to detract.
The giant raised his fist, and a voice cut through the dream. "Leo!" Jason was shaking his shoulder. "Hey, man, why are you hugging Nike?" Leo's eyes fluttered open. His arms were wrapped around the human-sized statue in Athena's hand. He must have been thrashing in his sleep. He clung to the victory goddess like he used to cling to his pillow when he had nightmares as a kid. (Man, that had been so embarrassing in the foster homes.) He disentangled himself and sat up, rubbing his face. "Nothing," he muttered. "we were just cuddling. Um, what's going on?
It is not the man who is beside himself, but he who is cool and collected,--who is master of his countenance, of his voice, of his actions, of his gestures, of every part of his play,--who can work upon others at his pleasure.
When there is a voice in a piece of music, we tend to focus on the voice. That is probably something from when we were babies and we depended on hearing our mother's voice.
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