Top 845 Vocal Cords Quotes & Sayings - Page 13

I think Mr. Cosby has always been very much an activist and a big proponent of African-American pride. That's how 'The Cosby Show' came about. I think in his older years, he has gotten a lot more direct and vocal about it. But I think he only wants the best for all of us.

Attempting to write vocal oriented songs to me felt like going through the motions and if you are going to go through the motions you might as well just do any gig that caused you to do repetitive motions like banging a hammer or serving fries.

People are going to like what they like, and they're going to be vocal about what they don't like.

Theatre, when it is at its best, takes a lot of beating - the live experience and the shared collective experience of live storytelling is really special when it is good. Particularly here in New York because the audiences are amazing, very vocal and very engaged, and that makes theatre very exciting.

I've watched and learnt from DJs and remixers and paid way more attention to how I want my voice to sound. Before, as long as it was loud and in tune it was fine. I've discovered the difference made by various microphones and effects, so each track has a different vocal sound, my voice is woven into everything and it's above everything.

I love accents; I would love to find more characters with a variety of vocal intonations. It creates a character. It's like you're singing a song. Some people find their character through walking or movement - for me, voice is one of the ways I find parts of the character.

You see people you identify with, and you take pieces of people you like and shape who you are. Like, I sound just like my dad. But that's literally my vocal chords. I can't sound like anything else... I sound like him, but I act like myself.

'Boneless,' even though we were thinking about servicing it to radio, it made more sense putting a vocal on there. This was actually the first time that I really looked at doing a song for radio and kind of let go of some control and listened to a lot of different radio pluggers and had Ultra come in and help out with ideas.

I'd always put on little shows at home, but when I was 11, I did a community event in Woodford, where anyone could go. You had three days of vocal training and performed your song at the end. I sang 'I Say a Little Prayer.' It's a tough song to sing but they gave me the confidence to go for it and belt it out.

I think everyone has a story to tell. Part of what I do is help artists find their voice, not only their vocal voice, but their writing voice. Every artist that I worked with who has those records that everyone talks about, they are also writers. I like to say I helped support whatever their writing was so people heard the song clearly.

I don't like people lying to me. I don't like people who don't return my calls. I don't like people who won't give me a straight answer. I don't like those kinds of people, and I've been vocal about it.

The Ahmaud Arbery video was the final straw for me in being silent. That shook me to the core like nothing has in the past. Something flipped inside of me to be more vocal and stand up for racial equality and make sure we get a hold on that and change the face of this world and get it to a better place.

When I sing, I go somewhere else. Every time after I sing, I'll ask, 'Did I do OK?' Because I feel like it's like my soul squeezing out of my vocal chords. I don't sit there and think about 'I'm gonna do this next...' I just sing. I sing from my heart, and my heart's got a little lonesome in it.

I had an apartment on Long Beach Blvd and San Vicente in Long Beach, California. That was the apartment I done 'Regulate' in. I had all my equipment set up in the bedroom, a vocal booth in the bathroom and in the closet, and that's where we created it. I had an MPC 60, a Numark mixer, and a Technics 1200, and a ton of records.

I think that our work and our music stands on its own without this knowledge about our identity around it. But I also think that we very consciously decided not to hold back that part of ourselves, but to be very vocal about who we are, kind of what experiences we've had in life, and how we identify.

There are so many intellectual and moral angels battling for rationalism, good citizenship, and pure spirituality; so many and such eminent ones, so very vocal and authoritative! The poor devil in man needs all the support and advocacy he can get. The artist is his natural champion. When an artist deserts to the side of the angels, it is the most odious of treasons.

One thing that I've been very vocal about roles I take, and my representation has been very smart about, is that I didn't go to Juilliard to be "Thug #2" in movies. I like to be challenged. I'd say that about 40% of the roles I've done have been written for white men.

I have a whole regimen to my day: my vocal warm-ups, my prayers, my meditations... I pray three times a day. I try to have a real experience praying, not just do it. I really get deep into the idea and really try to get somewhere with it, to have an in-depth understanding of the idea.

The first time I performed at the Comedy Store in Los Angeles, I was in the back of the room doing vocal exercises. 'Me-me-me, my-my-my, mo-mo-mo.' And I'm looking around, and no one else is doing it. I'm like, 'They must have done it before they came to the club.' I came to realize that I was an idiot.

Open Wings - Broken Strings is an opportunity for you to get to the heart of your favorite artists and their songs in a unique and compelling way. Stripped down, intimate and acoustic, you'll hear the strings on the guitar vibrate and buzz, the vocal chords hum and pulsate as the songs you love come to life like you never knew they could.

I wanted there to be something to fill the space and to catch the listener's ear, but I didn't want there to be any 'Virtual Self' songs that had a clearly defined vocal with lyrics and top line. If you do hear any lyrics, it's just your brain filling in the gap, because those moments are just various syllables combined.

My singing - it's who I am, it's all of me and it's my soul. The self expression of using your vocal equipment is not only physical and spiritual, but it's something you can't explain. It's your heart and soul together. Yes, I enjoy acting, but I portray other people. But when I sing, it's just me on that stage, communicating how I feel, how I think and what I believe.

Exactness is first obtained, and afterwards elegance. But diction, merely vocal, is always in its childhood. As no man leaves his eloquence behind him, the new generations have all to learn. There may possibly be books without a polished language, but there can be no polished language without books.

People ask me, what special is in my mentorship which has made Malala so bold and so courageous and so vocal and poised? I tell them, don't ask me what I did. Ask me what I did not do. I did not clip her wings, and that's all.

If I think about most of America, and maybe I'm terribly wrong...but I think most of America would say that they're not in favor of gay marriage. But there is certainly a large cohort, not a majority but a large number of people, who are articulate and vocal and they'd rally behind this. They're making their opinion known.

I love accents, I would love to find more characters with a variety of vocal intonations. It creates a character. It’s like you're singing a song. Some people find their character through walking or movement — for me, voice is one of the ways I find parts of the character.

Every single place that's brushed upon me has made me the artist that I am - from Nigerian Highlife music and the vocal melodies that I grew up on when I would be sitting with my father and his fellow chiefs, to the funk and freeness of the Bay Area groove, to L.A.'s smooth G-funk legacy, Brooklyn's lyricism, and now Atlanta's trap history.

There is something about the vocal quality of the actors who can really do it. Jim Burrows, the great sitcom director who directed Will & Grace and Cheers, when an actor comes in to audition for him, he never looks at them. He just listens. Because funny is funny. You can be fooled by the eye, but if your performance is funny to the ear, it will be funny.

I took vocal lessons for the first time and actually learned a lot about using my voice as an instrument as opposed to just doing what I've always done and going by feeling. I'm still doing that, but I've learned a lot of tricks and how to manipulate and play with my voice a little bit.

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.

I actually ended up going through a vocal change. It started about two years ago, and it's only been recently that I found my balance again. Vocally, I couldn't figure out what was going on. My lows were getting lower, and my highs were getting higher; everything felt weird.

Cee Lo - to me, his voice is classic; I've personally said to him before, 'For me, your voice is as special as a Michael Jackson vocal,' because of what he can do, his range. I said that to him, and I mean that.

In vocal choreography you had to give a lot of consideration to the fact that you were working with singers and not dancers. But you had to make singers look like they were dancers, and to make the movements as natural as possible, and there to be an association with the movement, uh, somewhat to what the lyric was saying.

I learned a lot from working with and watching Knxwledge, seeing how he produces non-stop. He doesn't dwell too long on stuff. He's very simple, using only about two or three elements. I like that in production. Sometimes it doesn't take more than three drums, a melody, the vocal, looping a sample or whatever, just as minimal as possible.

I like being able to have a conversation. I like being able to do a vocal interview.

I wear scarves all the time. Even in the summer, I wear scarves - even a thin one. My old vocal teacher told me that, and I stick to it. The only time I get sick is when I forget to wear my scarf. I don't know, it might be mental, but it works for me.

Since I was very young I've been fascinated with nature and I actually wanted to be a marine biologist when I was very young. That was a great passion of mine. So I suppose in the off season when I'm not making movies, I became more and more active as an environmentalist trying to be more vocal about issues that I felt were important.

The WWE has a massive outreach on social media, and our fanbase is very vocal. So many young people watch the WWE, and I can turn around and say: "This also happens to me. Daily." I've been regarded as a very "controversial" figure, but in a setting like this, where I talk to young people, it helps.

...a vocal minority of scientists so mistrusts the models and the complex fragmentary data, that some claim that global warming is a hoax. They have made public statements accusing other scientists of deliberate fraud in aid of their research funding. Both sides are now hurling personal epithets at each other, a very bad development in Earth sciences.

I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.

The Broadway audiences are very vocal and seem very engaged. For certain shows, especially with a show like 'The Heiress,' the audience's reactions sound like 'The Jerry Springer Show' sometimes. That seems to be a very New York thing. Oh, there's also the entrance round of applause here, which we don't get too much in London.

When you're singing we all phrase each other in the most remarkable ways. I might hit some sort of thing I've never done before - some vocal pattern. Bonzo will pick it up - he'll phrase with me instantly and then Pagey may join in or start some other phrase - it's like a quadrant.

I get called Harold the most. I think maybe 'Harold & Kumar' fans don't know my name, and 'Star Trek' fans do know my name... Harold fans are vocal!

Interesting characters are troubled characters. The only problem I've had in my business is very few people - unfortunately, very vocal - confusing the difficult role that I play with me. I play these guys, but I'm not like them. I've been accused of being difficult to work with.

Ayahuasca is driven by sound, by song, by whistling. And its ability to transform sound, including vocal sound, into the visual spectrum indicates that some kind of information processing membrane or boundary is being overcome by the pharmacology of this stuff. And things normally experienced as acoustically experienced becomes visibly beheld, and it's quite spectacular.

Initially we were spitting lyrics over garage beats, in that eight-bar gap where there wasn't a vocal. But we were rebellious towards garage because they were rebellious towards us; a lot of their gatekeepers said grime was too violent.

When I was a kid, I used to listen to my Emerson radio late at night under the covers. I started by listening to jazz in the late 1940s and then vocal harmony groups like the Four Freshmen, the Modernaires and the Hi-Lo's. I loved Stan Kenton's big band - with those dark chords and musicians who could swing cool with individual sounds.

It's not about me. The power is in God, it's in the message and I now realize I need to be vocal about it... God uses flawed people to spread the message of His Son; if He can use me, He can use anybody. Whatever you do in life becomes the platform for your faith.

Philip is being very vocal about it. For me, I don't think the story isn't at all anti-religious in any way. I think what's it more against is the control and the misuse of power that any organised religion, or any political organisation exercises over the people they're supposed to represent. I think that, for me, is what's important in the movie.

Van Morrison is probably, at this point in time, my biggest influence as a vocalist. When we were making our last album I had a vinyl copy of 'Veedon Fleece' in the vocal booth in front of me, in the dorky sense. I think there were candles around, which is really tacky, but hey, I needed to channel Van the Man!

In the age of activism that is clearly not going away, it would seem that some form of engagement from directors with shareholders - rather than directors simply taking their cues from management - would go a long way toward helping boards work on behalf of all shareholders rather just the most vocal.

the present Western civilization ... is dominated by the extravert viewpoint. There are plenty of reasons for this domination: extraverts are more vocal than introverts; they are more numerous, apparently in the ratio of three to one; and they are accessible and understandable, whereas the introverts are not readily understandable, even to each other, and are likely to be thoroughly incomprehensible to the extraverts.

Generally I'll keep 95% of what I sing on that first scratch vocal take. Sometimes that idea will ferment for a long time, and sometimes I"ll be close enough to my studio and have enough time (kind of rare these days) to go and work on the idea. Not every song is super easy though.

People would call me up because they liked my voice, and they wanted some kind of vocal harmony. Sometimes I was asked to come in and sing all the harmony parts, and sometimes I would sing with other people.

Certainly, black horror movie fans have, you know, been particularly vocal. I mean, there's the whole Eddie Murphy routine about, you know, black people in a horror movie wouldn't last very long. Right? They just walk in - you hear get out. Too bad we can't stay, baby.

I never start a song at the beginning; I always start in the middle, working with the original concept. That might be a loop or a vocal hook. A weird noise or a string sample. Once that's at the heart of the song, I work concertina-fashion, expanding the song forwards to the end and backwards to the beginning.

My tastes range all over the place, from vocal standards to Motown to 70s funk & soul to 80s pop to film scores to artists like R.E.M., Ben Folds, Prince, Annie Lennox, the Police, Elvis Costello, Cat Stevens, the Ditty Bops, local bands that friends of mine are in, and the list goes on... I have no single favorite genre or artist.

Everyone's [ me, Iain Cook and Martin Doherty] equally involved in all the writing. Normally we'll start with a sample or a drumbeat, or a synth sound or something like that, and that will spark the initial idea. And then we'll write an instrumental sketch of a song, and then we put on a nonsense vocal melody, which is always my favourite bit because it obviously sounds amazing.

I'm sure any vocal teacher that listens to me would rather cut my throat than do anything - I do everything all wrong - but I think for me that's the best - because I don't think I have a voice so I think what I project would be style - if I learned to sing I'd lose my style.

Since the beginning of establishment, poets and spoken word artists have always been both vocal supporters and critics of government. And in this age of Trump as President, alternative facts, falsehoods becoming truth at the send of a tweet, it's vital that spoken word poetry does its job helping to keep folks 'woke' and not numb or shut down.