Throughout history, it has been the inaction of those who could have acted; the indifference of those who should have known better; the silence of the voice of justice when it mattered most; that has made it possible for evil to triumph.
I am endorsing Barack Obama because he is a new kind of leader: he speaks with a different voice; he brings a new perspective and inspires a real excitement from the American people.
I can say sincerely, don't take your voice for granted. It is truly what makes us all equal.
As far back as I can remember, my mother would have me down by the bed at night with her, praying. I can still hear her voice calling my name to God and telling him that she wanted me to follow him in whatever he called me to do.
I try to widen the horizons of every child I meet, and part of that is promoting diverse forms, be it graphic novels, stories told in a narrative voice, or more translated books, as well as more diverse writers and more diverse characters.
I speak not for myself but for those without voice... those who have fought for their rights... their right to live in peace, their right to be treated with dignity, their right to equality of opportunity, their right to be educated.
When I say 'hip-hop is dead,' basically, America is dead. There is no political voice. Music is dead.
Before social media, if I, as an individual wanted to publish something to the world, unless I could get some local TV crew to interview me, or I wrote an op-ed or took out an ad, I had no voice.
The acne thing was bad. The shoulders, the face, my voice changed. I had a period every other week.
I did voice work for many years before I started having success as an actress. It was mostly radio and television voiceover work, but I know my way around the studio. I know how to use the cappuccino machines and the headphones.
I have a Bible study that my friends and I go to here in L.A. I go to church every Sunday. I've always been a believer. I love singing. I don't have the best voice - I just love getting my emotions out.
With 'J', at a deep base level, there is still some comedy, but that masculinist voice that had driven so many of my novels I suddenly did not want to occupy. I wasn't reneging on it; I just didn't want to do it.
I took some voice lessons here and there as a teenager but nothing too serious. I started taking it more seriously when I was in Miss Saigon. I needed to improve my technique in order to survive doing that show as many time a week as I was doing it. It's not an easy show to sing, so I needed all the help I could get.
Well, I think people don't recognise my face because I'm so much older now, but it is astonishing that people can recognise a voice. I do sometimes get recognised, and indeed a lot of people do come and see me.
I have always been an independent voice for the folks in my district.
At Julliard we had some voice classes. It was really just so you could carry a tune. It always just helps with your speaking voice also, when you connect your diaphragm and your breath.
I was a super once - an extra - in 'Die Fledermaus,' and was seated within three feet of Placido Domingo. I had never heard a voice of that beauty so close up. It felt as if an electric shock were running through me.
The voice is always the starting place for me with a character.
I could be ordering ham at the deli, and someone will turn around and look at me and kind of stare. They'll just look at me like, 'I know I know your voice, and I know I know your face.'
After 'The Wonder Years,' I ended up having a voiceover career, which was something I never even knew was possible. But after the character I was playing on 'The Wonder Years,' people said, 'Oh, would you like to do a Burger King thing? And there's a 7 Up thing...' And then I got to do 'Dilbert.' I think my voice kind of fit for that.
One of the key characteristics of the comic book medium is that it is not brought to life by just one voice.
Being an outsider means not being heard, not having a voice. It means being treated as a second-class citizen, being diminished in the eyes of others. We have all felt this way at one time or another, but some feel it more consistently. Unfortunately, our schools often do not embrace the talents of many of their occupants.
My father never raised his voice or his hand on me when I was a kid.
I went to this vocal coach, Ron Anderson, who has worked with Axl Rose and Chris Cornell, to train my voice and learn a whole new way of singing.
I am still working on developing my voice. I am, I know, better as a coloratura singer than I was. It's a matter of strong breath control and yet making it sound as though it is the easiest thing in the world.
In the early '90s, when I really started to find my voice, I was reading a lot of books, and I was moved by the writers, like Chinua Achebe, and I wanted to be able to write rhymes that were as potent as what I was reading.
I don't want to play a voice.
I have always found the baptism of Jesus, with a dove descending and voice from Heaven, one of the great moments in the Jesus story. This is where Jesus hears the deep call from God.
I mean, in 'Big' and 'Pleasantville,' it's a journey that the characters go on where I think they come to kind of meet themselves at the end and who they actually are and give full voice to who they actually are. And that, you know, obviously fascinates me for some reason. Maybe I didn't adequately grow up.
I was very serene, and I still am, until I start talking in another voice, then suddenly I have a lot of volume and I'm frantic. But I didn't want to be one of those people who's always talking in accents in real life, so I started doing sketch comedy.
'Top Gear' changed people's perceptions of me. I've had much more positive responses from my TV appearances than written articles. And I have the weirdest voice.
What made 'American Idol' different from 'The Voice' and all these other singing competitions... 'American Idol' just gave regular old normal people like me and like Trent a chance.
I was a child prodigy who had a freak voice of something like four octaves.
I worked with some directors, and it was really collaborative, and I was sort of writing with them. I was giving so many pieces of myself to their movies, I thought, 'It's about time I use my own voice for me, and establish my own voice.' So I knew I wanted to make films.
I had a thick accent, and people didn't understand me, and I was ashamed, and I fumbled. I radiated an uncertain energy; sometimes baristas sensed this and wouldn't try to talk to me, and then an insecure voice in my head would cry, 'He's racist!'
In the two novels I have published, it was my fortune at different times, and from different persons, to hear the most unqualified censure long before it was possible for me to hear the voice of the public. But my temper was not altered, nor my courage subdued.
