Top 376 Microphone Quotes & Sayings - Page 7

The American dream is not a sprint, or even a marathon, but a relay. Our families don't always cross the finish line in the span of one generation. But each generation passes on to the next the fruits of their labor. My grandmother never owned a house. She cleaned other people's houses so she could afford to rent her own. But she saw her daughter become the first in her family to graduate from college. And my mother fought hard for civil rights so that instead of a mop, I could hold this microphone.

Eventually as a teenager, I was pulled up on stage by James Brown's saxophone player, Maceo Parker, during one of his concerts and scatted on his stage for 20 minutes. After I was done, Maceo's bass player got down on one knee as if he were proposing, took a string off of his bass guitar and coiled it up around my ring finger. He hushed the crowd and said into the microphone, "Wendy, from this day forward you are married to music. You have a gift from God. You must devote your life to using this gift or else you will deprive the world of something so special." I got the chills.

How are we doing, Simon?" she whispered into the small microphone in her collar. "Just about..." Simon started slowly. And then he stopped. "Wow." "What?" she asked, panic in her voice. "Nothing," he said too quickly. "What?" she asked again. "Well...it's just that...your boobs look even bigger on TV." Kat took that opportunity to turn and glare at the nearest security camera. In his bathroom stall thirty feet away, Simon nearly fell off the toilet.

It's been fascinating over the last few years, watching the high and mighty in business and politics fall precipitously-not because their plans didn't work, but because their character flaws undercut those plans. Whether the microphone caught them making racist comments or their greed overcame their common sense, who they were as people made all the difference-more than their résumés, their degrees, or even their past successes. If you fail at the art of being human and staying human, you recklessly court disaster.

I'm the only person in my family who can't sing. My grandmother was an opera singer and all of her kids were in church five days a week - or between church and vocal lessons at Carnegie Hall. But my mom had her first studio experience recording on my album. She's used to having to fill the room, so she had to adjust to the microphone and not sing opera.

My favorite story about O'Connor - one of them - is I was in Toronto at a pro-life conference.I had a session before he was to come on,I thought very moderately - that not have unwanted abortions was to have much more research on contraception. Two true-faith people came out of the audience, wrested the microphone out of my hand and said, `That is im - inappropriate, improper. Pro-lifers do not believe in contraception.' [John] O'Connor's watching this said,`I want to tell you I'm delighted that Nat is not a member of the Catholic Church. We have enough trouble as it is.'

Meanwhile someone is shining my head to get it dry to attach my top-hat to my head with toupee tape. I get into microphone and get back up into my dressing room for the rest of my costume. I get snapped into all these things and layers and bundled up. I walk downstairs to the pit. Someone hands me my baton (which lights up like a wand) and I watch the first three minutes of the show. Then I come up out of the pit and there I am.

Real artists find answers. The knowledge of the artisan is within the confines of his skills. For example, I know a lot about lenses, about the editing room. I know what the different buttons on the camera are for. I know more or less how to use a microphone. I know all that, but that's not real knowledge. Real knowledge is knowing how to live, why we live, things like that.

Jonathan Coe's genial, likeable novel can only be described as a kind of lit-prog-rock concept album... Coe recreates the period with such loving accuracy that I frankly suspect him of having planted a secret microphone in the tin Oxford Mathematical Instruments box I carried around in my school days... As always with Jonathan Coe, the sheer intelligent good nature that suffuses his work makes it a pleasure to read.

I feel genuinely sorry for those who are so blinded by narrow partisanship that they cannot appreciate Limbaugh's energy, intelligence and satiric skill. They live in a box with bags over their heads. Though he and I hardly agree on politics (I voted for Ralph Nader last year and may go Green again in 2004), I respect Limbaugh as a political analyst and deft rhetorician who is a master of the microphone and who knows how to engage and challenge a vast audience.

With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.

I'd always believed that any song worth singing is worth putting harmony on. When it comes time for the harmonies to come in, I will move to my left because my brother and I always used to use one microphone, and so you had to share the mic. And, even today, I will move over to the left to give the harmony room, knowing in my mind that there's no harmony standing on my right. But it's just old habits are hard to break.

If some day they take the radio station away from us, if they close down our newspaper, if they don’t let us speak, if they kill all the priests and the bishop too, and you are left, a people without priests, each one of you must be God’s microphone, each one of you must be a messenger, a prophet. The church will always exist as long as there is one baptized person. And that one baptized person who is left in the world is responsible before the world for holding aloft the banner of the Lord’s truth and of his divine justice.

I hate the sound of my own voice. It's just up there, sort of naked and exposed. Live is hard, because on my records, I play almost everything on a lot of stuff. In a live situation, I can't control everything. I use two different microphones. One is just clean, traditional sound, and the other one is basically a cheap cassette-recorder microphone that goes through a distortion box to emulate my voice on the record. That helps some.

I think the Arab world has no personality cult situation going on that they have in much of the Western world, South America included. They are a culture of words and religion, and you won't see manycsa charismatic people on Al Jazeera, except for the ones who are now learned presenters. You see Arab leaders getting on TV - which was very hard for me working out how to do the part, since Arab leaders are looking somnambulant, staring into their microphone, almost as if someone's got a hand up their back.

I fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.