Bono vows to be ‘back to full voice’ after gig cut short

Bono has assured fans nothing is seriously wrong with his voice after he was forced to cut short a concert in Germany.
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‘Voice of a generation’: Stars pay respects to Aretha

Aretha Franklin has been remembered as the “voice of a generation” as stars including Ariana Grande, Jennifer Hudson and Stevie Wonder performed at her funeral.
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Aretha Franklin Reigned as Queen, in Voice and in Image

Yoking her formidable vocal powers to a brilliant sense of self-presentation, Ms. Franklin made herself a model of empowerment and pride.
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Regional accents ‘suppressed by voice assistants’

Regional accents could be being suppressed by voice assistants including Google Home, Alexa, Cortana and Siri, according to research in Newcastle.
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A Word With: Uzo Aduba Gives Voice to Hidden Figures

Ms. Aduba talks about the new season of “Orange Is the New Black”; her character, Suzanne; and her mission to tell the stories of overlooked women.
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Dietland’s Kitty Is “Finding Her Voice” in a Badass Julianna Margulies Speech

DietlandDietland is not messing around.
On the AMC show, a terrorist group calling themselves Jennifer has started murdering men who have assaulted women, and as the head of Austen Media, Kitty…

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Britain’s Got Talent: Is Lost Voice Guy’s win a watershed moment for disability?

Both the winner and runner-up made light of their disability in their acts.
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A Tiny, Mocking Voice Rules Donald Trump’s Mind In ‘Late Night’ Gag

His head is a busier place than some critics think.
Comedy
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How the voice of Hockeytown lost his son to drugs and insurance fraud

For Ken Daniels, determining how his son could overdose in a sober house meant learning about the corrupt side of the Florida rehabilitation industry, where laws can be exploited by people who actually have no interest in keeping recovering addicts clean.
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On Comedy: Introducing a Major New Voice in Comedy (Who Also Attacks Comedy)

The Australian stand-up Hannah Gadsby examines a culture that excuses abuse and takes on comedy’s pieties. Laughter is not good medicine, in her view.
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The Memories in Dolores O’Riordan’s Fierce, Fragile Voice

The Cranberries singer fascinated the world, but her success meant something special in Ireland.
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Kelly Clarkson Makes The Voice Debut in First Season 14 Poster–Should American Idol Be Worried?

Kelly Clarkson, 2018 Golden Globes, Red Carpet FashionsAmerica’s favorite Idol is coming back to TV!
Kelly Clarkson is making her debut on The Voice when season 14 premieres on Feb. 26, and E! News has your exclusive first look at the…

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How Camila Cabello Lost Some Friends and Found Her Voice

The “Havana” singer and former Fifth Harmony member opens up about her solo journey and “super awkward” split from the group.
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Former Voice Contestant Melanie Martinez Responds to Rape Allegations

Melanie MartinezAfter being accused of rape by singer Timothy Heller, Melanie Martinez has spoken out.
The Voice contestant tweeted the following statement on Tuesday:
“I am horrified and…

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Taylor Swift Confirms Blake Lively and Ryan Reynolds’ Daughter Is the “Baby Intro Voice” in “Gorgeous”

Ryan Reynolds, Blake Lively, James, BabyThe rumors are true!
In late October, Taylor Swift released a song titled “Gorgeous,” off her sixth studio album, reputation. The track, which she co-wrote with Max Martin and…

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Charlotte Gainsbourg Finds Her Own Voice

For her fourth album, “Rest,” she did something she’s never done before: write her own lyrics, digging into her family’s tangled history for inspiration.
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This Team Miley Cyrus The Voice Battle Rounds Performance Is Simply Beautiful

The Voice, Miley CyrusMiley Cyrus made The Voice history with the first all female team for season 13 and the “Girls Just Want to Have Fun.” In the above sneak peek from Monday’s episode of the battle…

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This Team Miley Cyrus The Voice Battle Rounds Performance Is Simply Beautiful

The Voice, Miley CyrusMiley Cyrus made The Voice history with the first all female team for season 13 and the “Girls Just Want to Have Fun.” In the above sneak peek from Monday’s episode of the battle…

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Viet Thanh Nguyen Is The Pro-Refugee Voice America Needs To Hear

“Those of us who are refugees and immigrants or who support them, we have to use every tool at our disposal, including our writing.”
Arts
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Netflix’s Ted Sarandos on Why Aziz Ansari is the Voice of His Generation

No comedian wants to be called the voice of his or her generation, but it is undeniable that Aziz Ansari is the voice of his. His is perhaps the first generation to think the internet is more important than television and for whom the internet is at the center of everything they do; dating, eating, […]

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Blake Shelton and Jennifer Hudson Are Feuding on The Voice (and Putting the Real Housewives to Shame!)

Jennifer Hudson, The Voice Season 13Breaking: Bravo has ordered yet another spinoff of the Real Housewives: The Real Coaches of The Voice!
OK, so sadly, that’s not a real show that is happening (except maybe in our…

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Warning over supersonic voice command hacking

Security researchers say they can covertly control voice-activated systems using supersonic sounds beyond the range of human hearing.
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Kermit loses his voice as puppeteer quits Muppets

The puppeteer behind Kermit the Frog has quit the show, after nearly 30 years manning one of the most iconic Muppets.
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The Last Remaining Evidence of My Father’s Voice is Fading Away

His accent was a thing to behold, and all too soon I will have forgotten it.

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Postscript: That Voice, Those Parties: Remembering Jean Stein

At her parties, you were as likely to meet Warren Beatty as the Russian poet Andrei Voznesensky. An oral history of a woman who excelled at the form.
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BBC fools HSBC voice recognition security system

A reporter’s twin foiled the HSBC security measure by mimicking his brother’s voice.
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Samsung Galaxy S8 and S8 Plus: Giant screens, new voice controls and no fires

Samsung Galaxy S8 and S8 Plus: Giant screens, new voice controls and no firesSamsung had a rough 2016. Now that its Note7 has literally gone up in flames, the company needs a hit to revitalize its image. Which is where the Galaxy S8 and S8 Plus come in.



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Control your Roomba with just your voice via this new Alexa integration

Control your Roomba with just your voice via this new Alexa integrationEveryone's favorite self-driving vacuum cleaner, the Roomba, just added an Amazon Alexa integration, allowing you to communicate with your cleaning assistant with nothing more than your voice.



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Ballet Hispánico Is Giving Latino Artists A Voice They Deserve

A small number of residents from Manhattan’s Upper West Side gathered in a community garden on Tuesday to watch as members of Ballet Hispánico posed for a photo shoot. The dancers were dressed in the costumes they’ll wear onstage at the Joyce Theater later this month, where they’ll be performing three works by Latina choreographers, all of whom are women. 

Founded in 1970, Ballet Hispánico defines itself as a community-building institution dedicated to exploring the diversity of Latino culture, involving dancers and choreographers from Venezuela, Cuba, Trinidad, Puerto Rico, Mexico, Spain, Brazil, Argentina and Colombia in a mix of classical, Latin and contemporary dance. This year, its New York Season will not only celebrate the depth of expression found in the various corners of Latin America, it will shine light on the women creating art in a traditionally male-dominated field.

“Ballet Hispánico was born out of the need to give voice to Latino/Latina artists at a time when they did not have a strong presence in mainstream performing arts,” Eduardo Vilaro, the artistic director of Ballet Hispánico since 2009, told The Huffington Post. Today, the company is taking its mission a step further, by choosing to honor the female choreographers who are seizing positions of leadership in dance: Michelle Manzanales, Annabelle Lopez Ochoa and Tania Pérez-Salas.

“It is imperative that we nurture and give voice to those who may not have opportunities within the field,” Vilaro added. “By nurturing and celebrating the work of these Latina artists, Ballet Hispánico hopes to contribute to the process of making the dance field more equitable.”

Vilaro’s sense of duty to marginalized voices is heightened, he says, by the company’s 46-year legacy in New York City. Since the 2015 opening of Ballet Hispánico’s Arnhold Center on 89th Street ― with its unmistakable banners and open windows ― the organization has embarked on a five-year plan to nurture its relationship with the neighborhood it calls home. It’s doing so by hosting free performances, outdoor events and Hispanic heritage celebrations. Judging by the public’s captivation upon seeing dancers like Melissa Fernandez and Lyvan Verdecia leaping in front of a nearby parking garage, local interest is pronounced.

“The photo shoot certainly underlined the magic and richness of culture that Ballet Hispánico brings to the Upper West Side,” Vilaro added. “It is our duty to continue this legacy and build upon it as we navigate the terrain of today’s immigrant and race relations and the new challenges that our communities face.”

Ahead of the company’s April 18 debut at the Joyce, HuffPost’s Damon Dahlen ventured to the Upper West Side to photograph members of Ballet Hispánico in the familiar spaces just beyond its front doors. Check out images of Fernandez, Verdecia and other members of the company paying tribute to their neighborhood in the best way they know how: through dance.

Ballet Hispánico’s 2017 New York Season at the Joyce Theater will take place April 18-23, featuring “Con Brazos Abiertos” by Michelle Manzanales, “Línea Recta” by Annabelle Lopez Ochoa and “Catorce Dieciséis” by Tania Pérez-Salas.

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The Voice final crashed by stage invader

The final episode of The Voice descended into chaos as an audience member crashed the stage and Sir Tom Jones said the F-word.
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Beyonce may voice Nala in Lion King remake

Disney has reportedly approached Beyonce about a role in a forthcoming live-action remake of The Lion King.
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Stephen Hawking Spoof Auditions Celebrities For His New Voice

Stephen Hawking is on the hunt for a new voice.

Well, not really. But that’s the premise of a hilarious spoof clip that aired Friday in the United Kingdom as part of charity Comic Relief’s Red Nose Day.

Having used the same computerized tone for three decades, the famous British physicist decides he’s ready to switch it up — and auditions celebrities for the “once-in-a-lifetime opportunity.”

Actors including Stephen Fry, Liam Neeson, Anna Kendrick, Rebel Wilson and Lin-Manuel Miranda do battle over the role. Foul-mouthed chef Gordon Ramsay puts in a curse-filled appearance. Even Eddie Redmayne, who won an Oscar for his portrayal of Hawking in the 2014 movie “The Theory Of Everything,” has a go.

But ultimately, there’s only one winner — as Hawking opts for one of Hollywood’s most recognizable voices.

Check out the full clip above.

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Say hi to Samsung Bixby, the new voice assistant in the Galaxy S8

Say hi to Samsung Bixby, the new voice assistant in the Galaxy S8Samsung has a new voice. And it has world-changing ambitions. In the upcoming Galaxy S8, users will find an extra button on the left side of the phone, just below the volume controls. Pressing it will activate Bixby, Samsung's new voice assistant. Once activated, Bixby will help you navigate what's arguably the most sophisticated piece of technology you own — the smartphone in your hand. If Samsung gets its wish, though, Bixby will eventually do much more than just help you order Lyfts or set up complex calendar appointments. The long-term vision is for Bixby to act as a kind of uber-interface for
all of Samsung's products: TVs, wearables, washing machines, even remote controls. SEE ALSO: Samsung Galaxy S8: all the leaks in one place Samsung designed Bixby with a specific goal in mind, one that veers away from its fellow voice assistants — Apple's Siri, Amazon's Alexa, Microsoft's Cortana and the Google Assistant. Those platforms were generally built to help users quickly perform common tasks ("Remind me to buy milk") and perform search queries ("What's the capital of Brazil?"). Bixby, on the other hand, is all about making the phone itself easier to use, replicating the functions of many apps with voice commands. Yes, Siri et al. already do that to a certain extent — you can easily set a reminder with your voice, for example — but the voice integration typically only handles the basics. The goal of Bixby is to voice-enable
every single action in an app that you'd normally do via touch, starting with Samsung's apps. So, not just "set a reminder to buy pickles at 6 p.m., but "Set a reminder on my Shopping List to buy pickles at 6 p.m. and make it repeat every week, then share the list with my wife." Bixby speaks Injong Rhee, CTO of Samsung Mobile and the architect behind Bixby, says the voice assistant is nothing short of an "interface revolution," freeing users from hunting down hidden functionality within menus and hard-to-find screens. "Bixby is an intelligent user interface, emphasis… on 'interface,'" Rhee says. "A lot of agents are looking at being knowledgeable, meaning that you can ask questions like, 'Who's president of the U.S.?' A lot of these are glorified extensions of search. What we are doing with Bixby, and what Bixby is capable of doing, is developing a new interface to our devices." Bixby architect Injong Rhee, CTO of Samsung Mobile. Image: Pete Pachal/Mashable Although it makes its debut on the Galaxy S8, it will soon spread. Rhee sees the Bixby button eventually spreading to all kinds of smart-home devices, from TVs to refrigerators to air conditioners. "Anywhere there is an internet connection and a microphone, Bixby can be used," he says. "There is some technology in the device, but a lot of it lives in the cloud. That's why the range of devices goes beyond just a smartphone. It means it can be in any device we produce." Samsung began work on Bixby about 18 months ago, Rhee says. It grew out of the company's S Voice tool, which has been on Samsung phones since 2012. (The timing might explain why Samsung's smart fridge — announced right around then — failed to deliver on its planned integration with Alexa.) S Voice hadn't progressed much over the years, but then last year Samsung acquired the much-hyped Viv Labs and its sophisticated assistant, a strong indicator of the company's renewed interest in voice control. However, Rhee says Viv's technology is planned for future updates to Bixby and doesn't have a role in the initial release. The name Bixby came out of Samsung's focus groups, but it was actually their third choice overall. It was the top pick among millennials — a demographic the company is specifically targeting with the Galaxy S8 — so it won out. (Rhee declined to say what the other names were.) It's also distinctive enough, with hard consonants, for it to work well as an activation word. Bixby, which will initially speak just English and Korean, is intended to be a user's "bright sidekick," helping them navigate their devices in a more natural way. "[What came before], it's been people trying to learn how the machine interacts with the world, but… it should be the machine learns how the
human interacts with the world," Rhee says. "The learning curve shouldn't be steep." All talk, all action For an app to be considered Bixby-supported, every possible touch action needs to be mapped to a voice command. Rhee explains that, for a typical app, there are about 300 different actions the user can perform. That doesn't sound too bad until you consider there are around 15,000 different ways to perform them. And the ways to verbalize those actions number in the millions. That's a lot of stuff to map out. Still, Samsung says it's up for the challenge, at least as far as its built-in apps are concerned. But what about third-party apps? Considering the amount of development work, will Snapchat or Facebook ever work as well with Bixby as Samsung's apps? Rhee says Samsung has a plan to get third-party apps talking to Bixby, and an SDK to be released at a later date will introduce tools that make the mapping much easier. He also suggests Viv's technology can help here, too. "Viv Labs is coming in by way expanding our vision into third-party ecosystems. It doesn't necessarily have to be
all of the touch commands that they can perform. At a minimum, [Bixby will perform] the basic functionalities: like the settings, or changing the language from English to French." On the Galaxy S8, a total of 10 apps will be Bixby-supported, Rhee says, with a second "wave" coming a few weeks later. Out of the gate, users will be able to use Bixby with Contacts, Gallery, Settings, Camera, Reminders and a few others. Another way Bixby is different from its peers: it will be aware of what you're doing on the phone and suggest different actions depending on what's on screen. So if you press the button while, say, looking at a single photo in the Gallery, editing and sharing controls are probably more relevant to you than searching. And if Bixby doesn't understand every aspect of a complex command, it will take you as far as it can rather than just hitting you with a "Sorry, I didn't catch that." All this "awareness" brings up an important question: How much data is Samsung collecting about you? Rhee says most user-specific data is kept on the device, but, as a cloud service, Bixby needs to store some information in the cloud. It's not yet clear what the exact breakdown is. The button Having a dedicated button for Bixby brings a number of advantages. For starters, it means Samsung won't have any need for Clippy-style pop-ups directing users to the assistant — people will inevitably find it on their own. It also ensures there will be far fewer accidental activations than if Bixby were mixed into a home button — something users of Siri are all too familiar with. "We actually have done a lot of research to have the Bixby button as part of the home button like our friends in Cupertino," Rhee says. "A lot of people find it a little awkward to use it in public. The home button is a very overloaded place — there's a lot of functionality into it. Having a dedicated button really removes a lot of friction." And since the idea is to press and hold, lifting your finger when you're done, Bixby will know definitively when you're done speaking. Still, there will also be a wake-up phrase — you can just say "Hi Bixby," to activate the assistant at any time. It's the dedicated button that really epitomizes Samsung's approach, and if it indeed ends up on all Samsung products, Bixby will become much more than just a smartphone assistant — it'll become the gateway for Samsung to finally, truly become a major player in the internet of things. Sure, Samsung has had its "Smart" devices for a long time, and its low-power Tizen OS is ideal for powering the many products with connections to the internet. It also acquired SmartThings in 2014 to strengthen its IoT brand. But until now, Samsung has lacked a gateway for its customers to really take advantage of that interconnectivity. For most, it's hard work hunting down the right settings on your phone to connect a smart TV to an air conditioner, but what if you could just tell Bixby to do it? And if you can talk to it from all those devices — asking any question or even making phone calls — then you're really onto something. "It's actually omnipresent in a sense," Rhee says. "Even if I speak to Bixby in, say, a washing machine, you can still do a lot of things that you do on your phone. For instance, you can say, 'Bixby, send a text to my friend Michael,' or 'Make a phone call.' That's the vision." The more capable assistant Amazon and Google already know this, and the success of Alexa and buzz around Home are a testament to the unquestionable efficiency of adding voice control to devices. But Samsung, with its high standard of controlling
all functions of a device via Bixby, might end up with the advantage. Alexa, for all of its "skills," often falls short of full control (you can turn on or dim LED lights, for example, but might not be able to select specific colors), so the market has room for a more capable competitor. Of course, how and when Bixby will mix with third-party products and services remains an open question. "Philosophically, what we are looking at is revolutionizing phone interfaces," Rhee says. "We understand our applications better than anybody else out there — that's why we started with our own technology, but going forward we have plans to work with our partners." Eventually, Rhee says a Bixby app might come to non-Samsung Android phones and even iOS, possibly partnering with Google Assistant for search-related queries (though he cautions Google and Samsung haven't "gotten to the specifics" on how that would work). At the same time, Bixby control could extend to all kinds of smart products, not just Samsung ones. That would probably take a level of cooperation with competitors that Samsung hasn't really shown before, but if Bixby becomes ubiquitous in the long term, whatever OS this or that device is running will become less relevant. That's a future Samsung is clearly hoping for, since software has traditionally been its weakness. Samsung may be a chief Android partner, but it's struggled to differentiate its many services from Google's, and the company lacks an OS of its own (Tizen notwithstanding). Samsung's browser, Samsung Pay, S Health — they're all duplicates of Google products, and are widely regarded as inferior. That's why Bixby may be the best thing to happen to Samsung software in a long time. If customers respond, Bixby could, in the long term, finally get Samsung users to think of its phones as
Samsung phones rather than just the best-performing Android phones on the market. All Android vendors try to differentiate to some extent, but Bixby's app-simplifying skills and potential IoT capabilities are a compelling sell. Bixby represents an important step for Samsung when it comes to services: finally a good answer to "Why should I use your software?" Effortless voice control of everything — not just your phone — is a tantalizing promise, and if Samsung can pull it off in the long term, its "bright sidekick" might end up being the only assistant we actually want to talk to. WATCH: Samsung's wireless earbuds double as a fitness-tracker



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7 Times Aziz Ansari Was The Much-Needed Voice Of Reason

Though Aziz Ansari usually plays the silly guy on screen, he’s also known for calling out our serious injustices.

Whether it’s tackling racism in his “SNL” monologue or bringing attention to the sexism women face every day, Ansari has schooled everyone on issues in the no B.S. kind of way only he could. 

In honor of Ansari’s 34th birthday on Thursday, we invite you to treat yo’ self to these seven times he was the voice of reason in the crazy world we live in.

 

When He Made His “SNL” Monologue About Combating Racism

While expectations were already high for the first-ever South Asian “SNL” host, Ansari managed to bring the house down with his monologue in January. 

Ansari, whose parents are immigrants, made it clear that the country is, in fact, great. He explained that his family still loves America despite the divisive political climate and “they’re not leavin’.” 

But he also acknowledged the rising xenophobia, racism and Islamophobia following the election and called on President Donald Trump to do something about it.

“Don’t tweet about me being lame or the show being lame. Write a speech. A real speech,” he said, addressing Trump. “Because these people are out there and it’s pissing people off. And I think he could make a difference.”  

 

When He Reminded Us All To Call Our Parents 

Ansari’s “Master of None” show on Netflix has been lauded for its commentary on race, sexism and the immigrant experience. 

But for the actor, one of the biggest takeaways was his newfound appreciation for his mother and father.

The actor wrote about his experience casting his parents in the sitcom on The Huffington Post. Working with them ultimately strengthened their relationship and made him realize how important they truly are.

“In reality, I haven’t always had the best, most open relationship with my parents because we are weirdly closed off emotionally sometimes. But we are getting better,” he wrote. “And if you have something like that with your family — I urge you to work at it and get better because these are special people in your life … Enjoy and love these people while you can.”

 

When He Urged Men To Pay Better Attention To Women’s Experiences

In a 2015 interview with the Daily Beast, Ansari, a self-proclaimed feminist, said that men need to be more cognizant of the sexism women are subjected to. 

Discussing an episode of “Master of None” that addressed sexual harassment, Ansari mentioned that it was actually inspired by a standup comedy show he did at Madison Square Garden. He said that, unfortunately, many men in the audience appeared unaware of the amount of harassment that women regularly receive.

Ansari asserted that it’s necessary for men to take action and learn. 

“I thought it was interesting that this is happening, yet so many people are unaware of it,” he told the outlet. “What I’ve learned, as a guy, is to just ask women questions and listen to what they have to say. Go to your group of female friends and ask them about times they’ve experienced sexism at their job, and you’ll get blown away by the things they tell you.” 

 

When He Explained How Ridiculous It Was To Be On The Fence About Voting 

During this past election cycle, many celebrities came out to urge citizens to fulfill their civic duties. But no one quite did so like Ansari. 

In a video by climate change advocacy group NextGen Climate, the actor boiled down exactly how crucial it was to get out to the polls. 

“What the f**k do you need?” Ansari said in the video, later adding: “There’s a f**king guy running that says he hates brown people. That’s not enough?”

 

When He Called Out Hollywood For Limiting Roles For Asians To Stereotypes

Asians hardly nab any speaking roles in Hollywood. When they do, they’re often cast as tropes. And Ansari wasn’t shy about bringing this up around a group of industry vets.  

During a The Hollywood Reporter roundtable discussion featuring several actors, including Anthony Anderson and Jeffrey Tambor, Ansari spoke about how many viewers were surprised to see actors of diverse backgrounds playing characters who deviated from stereotypes on “Master of None.” Usually, this isn’t the case. 

“A lot of times when people write for Indian actors or Asian actors or anybody somewhat different, it is insulting because they have a certain view of, “… Oh, this Indian guy, let’s put him in the cab or in the market,’” he said. “Let’s not make him the guy who is this woman’s love interest,” or something like that, ‘:et’s get the white guy for that, of course.’”

 

When He Wrote A Sobering Op-Ed About Islamophobia In The New York Times 

Back in June, the comedian wrote a piece, entitled “Why Trump Makes Me Scared for My Family,” about how Islamophobic rhetoric during the election cycle has affected his family and others of Muslim backgrounds. 

Following Trump’s offensive tweet about Muslims after the Orlando shooting, Ansari, the son of Muslim immigrants, broke down why hate speech is so harmful to those of the faith. And also why it’s just absurd. 

“The overwhelming number of Muslim Americans have as much in common with that monster in Orlando as any white person has with any of the white terrorists who shoot up movie theaters or schools or abortion clinics,” he wrote. 

 

When He Dragged Rupert Murdoch For Tweeting Islamophobic Comments

After the Charlie Hebdo attacks in Paris, Rupert Murdoch tweeted inflammatory comments about Muslims around the world being held responsible for the actions of extremists. And Ansari unleashed a Twitter rant.  

The actor flipped the script on Murdoch, and launched the hashtag “#RupertsFault.” Ansari tweeted about incidents relating to the Christian community and how the billionaire could be responsible for them, showing the flaw in Murdoch’s logic.

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Speak up, move cash: Bank in voice app first

The frustration of a forgotten password may soon become a thing of the past for online bankers.
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Carly’s Voice

Carly’s Voice


In this international bestseller, father and advocate for Autism awareness Arthur Fleischmann blends his daughter Carly’s own words with his story of getting to know his remarkable daughter-after years of believing that she was unable to understand or communicate with him. At the age of two, Carly Fleischmann was diagnosed with severe autism and an oral motor condition that prevented her from speaking. Doctors predicted that she would never intellectually develop beyond the abilities of a small child. Carly remained largely unreachable through the years. Then, at the age of ten, she had a breakthrough. While working with her devoted therapists, Carly reached over to their laptop and typed “HELP TEETH HURT,” much to everyone’s astonishment. Although Carly still struggles with all the symptoms of autism, she now has regular, witty, and profound conversations on the computer with her family and her many thousands of supporters online. One of the first books to explore firsthand the challenges of living with autism, Carly’s Voice brings readers inside a once-secret world in the company of an inspiring young woman who has found her voice and her mission

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John Legend Tapped as Adam Levine’s Adviser for The Voice Season 12

The Voice, Season 12The Voice is officially calling in the music industry’s big dogs to serve as advisers for reality juggernaut’s upcoming 12th season.
E! News can exclusively reveal that John…

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Fisher-Price Hero World Superfriends Voice Comm Joker Figure

Fisher-Price Hero World Superfriends Voice Comm Joker Figure


The Fisher-Price Hero World Superfriends Voice Comm Joker Figure seems like he is talking to other Voice Comm figures. The figures each take a turn saying their phrase, and it sounds like they are really talking and know what the other figure has said and they respond accordingly. When a figure is plugged into a vehicle, even more magical conversation takes place: the vehicles know the figure’s ID and who that figure is, so speech coming from vehicle is catered to the character in the driver’s seat. Each figure has a clear section in their chest gear that allows a child to see the speaker inside. Each figure comes with a backpack and a hand tool.

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The Art of Voice Acting

The Art of Voice Acting


From basic acting techniques and exercises for keeping the voice in top condition, to marketing and promotion of the actor, The Art of Voice Acting covers it all. Now in its fifth edition, this essential book is packed with expert advice on job opportunities and career management tips; it is the ideal resource for anyone wanting to maximize their success in the industry. Complete with a companion website and QR codes that link directly to additional material such as audio for every script included in the book, more exercises, and voice relaxation techniques, this is the complete package that gives voiceover actors, and those in related fields, a clear, no-nonsense introduction to the business and art of voice acting. New and updated in this edition: All new scripts and voice exercises More voice and acting techniques Coverage of new trends, including online demos and online auditions Additional coverage of audiobooks and new information on home studio technology All new contributions from some of the top voice talent in the world

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Gaze and Voice as Love Objects

Gaze and Voice as Love Objects


The gaze entices, inspects, fascinates. The voice hypnotizes, seduces, disarms. Are gaze and voice part of the relationship we call love. or hate? If so, what part? How do they function? This provocative book examines love as the mediating entity in the essential antagonism between the sexes, and gaze and voice as love’s medium. The contributors proceed from the Lacanian premise that “there is no sexual relationship,” that the sexes are in no way complementary and that love-figured in the gaze and the voice -embodies the promise and impossibility of any relation between them. The first detailed Lacanian elaboration of this topic, Gaze and Voice as Love Objects examines the status of gaze, voice, and love in philosophy from Plato to Kant, in ideology from early Christianity to contemporary cynicism, in music from Hildegard of Bingen to Richard Wagner, in literature from Edith Wharton’s Age of Innocence to Kazuo Ishiguro’s The Remains of the Day, and in cinema from Michael Powell’s Peeping Tom to Kieslowski’s A Short Film on Love. Throughout, the contributors seek to show that the conflict between the sexes is the site of a larger battle over the destiny of modernity. With insights into the underlying target of racist and sexist violence, this book offers surprising revelations into the nature of an ancient enigma-love. Contributors. Elisabeth Bronfen, Mladen Dolar, Fredric Jameson, Renata Salecl, Slavoj Zizek, Alenka Zupancic

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What’s That Sound? Nature? No, It’s This Guy’s Voice

Gennady Tkachenko-Papizh, a journeyman performer, found widespread web renown for his televised displays of imitating sounds from nature.
NYT > Arts

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Voice and Video Over IP

Voice and Video Over IP


Mcgraw-Hill E-Books­­Original Titles Designed For Today’s Mobile Professional Electronic books are ideal for today’s on-the-go readers­­as evidenced by the increasing use and acceptance of this medium. McGraw-Hill’s ibooks­­written specifically for delivery to consumers via either a personal computer or handheld device­­are designed to help professionals stay current with the latest business information while commuting, traveling, or anywhere the traditional printed book is just not practical. As the acceptance of electronic books grows along with the use of handheld devices, let McGraw-Hill’s exciting new E-books help you establish a foothold in this digital, strategically essential marketplace. The Executive Briefings In Key Technologies Series Time-pressed executives want to learn more about current emerging technologies, but can be intimidated by jargon-heavy, techno-speak books. The E-books in this series use actual applications and case histories to introduce today’s key technologies, explain how they work, and show their use in real-life situations­­all in an easy-to-read style that doesn’t sacrifice technical content.
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Voice and Video Over IP, 1st Edition

Voice and Video Over IP, 1st Edition


Mcgraw-Hill E-Books­­Original Titles Designed For Today’s Mobile Professional Electronic books are ideal for today’s on-the-go readers­­as evidenced by the increasing use and acceptance of this medium. McGraw-Hill’s ibooks­­written specifically for delivery to consumers via either a personal computer or handheld device­­are designed to help professionals stay current with the latest business information while commuting, traveling, or anywhere the traditional printed book is just not practical. As the acceptance of electronic books grows along with the use of handheld devices, let McGraw-Hill’s exciting new E-books help you establish a foothold in this digital, strategically essential marketplace. The Executive Briefings In Key Technologies Series Time-pressed executives want to learn more about current emerging technologies, but can be intimidated by jargon-heavy, techno-speak books. The E-books in this series use actual applications and case histories to introduce today’s key technologies, explain how they work, and show their use in real-life situations­­all in an easy-to-read style that doesn’t sacrifice technical content.
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The Economists' Voice 2.0: The Financial Crisis, Health Care Reform, and More

The Economists' Voice 2.0: The Financial Crisis, Health Care Reform, and More


The Economists'' Voice: Top Economists Take On Today''s Problems featured a core collection of accessible, timely essays on the challenges facing today''s global markets and financial institutions. The Economists'' Voice 2.0: The Financial Crisis, Health Care Reform, and More is the next installment in this popular series, gathering together the strongest essays published in The Economist''s Voice, a nonpartisan online journal, so that students and general readers can gain a deeper understanding of the financial developments shaping their world. This collection contains thirty-two essays written by academics, economists, presidential advisors, legal specialists, researchers, consultants, and policy makers. They tackle the plain economics and architecture of health care reform, its implications for society and the future of the health insurance industry, and the value of the health insurance subsidies and exchanges built into the law. They consider the effects of financial regulatory reform, the possibilities for ratings reform, and the issue of limiting bankers'' pay. An objective examination of the financial crisis and bank bailouts results in two indispensable essays on investment banking regulation after Bear Stearns and the positives and negatives of the Paulson/Bernanke bailout. Contributors weigh the merits of future rescues and suggest alternative strategies for addressing the next financial crisis. A final section examines a unique array of topics: the stability of pension security bonds; the value of a carbon tax, especially in fostering economic and environmental sustainability; the counterintuitive perils of net neutrality; the unforeseen consequences of government debt; the meaning of the Google book search settlement; and the unexploited possibilities for profit in NFL overtime games.
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The Economists' Voice 2.0: The Financial Crisis, Health Care Reform, and More

The Economists' Voice 2.0: The Financial Crisis, Health Care Reform, and More


The Economists'' Voice: Top Economists Take On Today''s Problems featured a core collection of accessible, timely essays on the challenges facing today''s global markets and financial institutions. The Economists'' Voice 2.0: The Financial Crisis, Health Care Reform, and More is the next installment in this popular series, gathering together the strongest essays published in The Economist''s Voice, a nonpartisan online journal, so that students and general readers can gain a deeper understanding of the financial developments shaping their world. This collection contains thirty-two essays written by academics, economists, presidential advisors, legal specialists, researchers, consultants, and policy makers. They tackle the plain economics and architecture of health care reform, its implications for society and the future of the health insurance industry, and the value of the health insurance subsidies and exchanges built into the law. They consider the effects of financial regulatory reform, the possibilities for ratings reform, and the issue of limiting bankers'' pay. An objective examination of the financial crisis and bank bailouts results in two indispensable essays on investment banking regulation after Bear Stearns and the positives and negatives of the Paulson/Bernanke bailout. Contributors weigh the merits of future rescues and suggest alternative strategies for addressing the next financial crisis. A final section examines a unique array of topics: the stability of pension security bonds; the value of a carbon tax, especially in fostering economic and environmental sustainability; the counterintuitive perils of net neutrality; the unforeseen consequences of government debt; the meaning of the Google book search settlement; and the unexploited possibilities for profit in NFL overtime games.
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GT/Live with Fallout 4 Voice Actor Brian T. Delaney

gt_youtube_thumb_gtlive_7-1-15

We hear from the voice of the male player character in Fallout 4 about what it’s like to introduce the role to the series, have him play a scene from the original Fallout, and the couch loses faith in J-Stars.
GameTrailers.com Videos Hub

Little Oriole F518 Rechargeable Portable Voice Amplifier for Teachers Coaches Tour Guides Presentations Costumes

Little Oriole F518 Rechargeable Portable Voice Amplifier for Teachers Coaches Tour Guides Presentations Costumes


Small portable loudspeaker is tailored for the general teachers friend a section of sweet product, has a loud voice and high-fidelity, protects both voice, but also improves the effect of classroom teaching. It is suitable for small meetings, parties, indoor and outdoor teaching, outdoor tourist activities, guide, Carla partner, advertising products, deluxe auction.

Price: $
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A Voice That Could Stir an Army: Fannie Lou Hamer and the Rhetoric of the Black Freedom Movement

A Voice That Could Stir an Army: Fannie Lou Hamer and the Rhetoric of the Black Freedom Movement


A sharecropper, a warrior, and a truth-telling prophet, Fannie Lou Hamer (1917-1977) stands as a powerful symbol not only of the 1960s black freedom movement, but also of the enduring human struggle against oppression. A Voice That Could Stir an Army is a rhetorical biography that tells the story of Hamer’s life by focusing on how she employed symbols- images, words, and even material objects such as the ballot, food, and clothing-to construct persuasive public personae, to influence audiences, and to effect social change. Drawing upon dozens of newly recovered Hamer texts and recent interviews with Hamer’s friends, family, and fellow activists, Maegan Parker Brooks moves chronologically through Hamer’s life. Brooks recounts Hamer’s early influences, her intersection with the black freedom movement, and her rise to prominence at the 1964 Democratic National Convention. Brooks also considers Hamer’s lesser-known contributions to the fight against poverty and to feminist politics before analyzing how Hamer is remembered posthumously. The book concludes by emphasizing what remains rhetorical about Hamer’s biography, using the 2012 statue and museum dedication in Hamer’s hometown of Ruleville, Mississippi, to examine the larger social, political, and historiographical implications of her legacy. The sustained consideration of Hamer’s wide-ranging use of symbols and the reconstruction of her legacy provided within the pages of A Voice That Could Stir an Army enrich understanding of this key historical figure. This book also demonstrates how rhetorical analysis complements historical reconstruction to explain the dynamics of how social movements actually operate.

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Debutaunt Examines Traditional Rites of Passage While Encouraging Young Women to Find Their Voice

2015-05-26-1432665164-4159256-ARMWRESTLE.jpg

I’m sitting in an airy warehouse in Red Hook Brooklyn filled with plush white beach-house furniture, rustic chandeliers, and freshly cut dogwood branches. The space is an old converted ice cream factory used for weddings and other events but will soon be transformed into a charming ballroom for a new immersive show, Debutaunt. Director and choreographer of the show, Mary John Frank, twirls and moves swiftly in front of me as she maps out the three act structure of the immersive dance-based show. Between rehearsals she takes a beat to sit down and answer a few questions.

TR: Tell us a bit about Debutaunt. What is it?

MJF: Debutaunt is an interactive dance-based show where audiences are invited to attend a debutante ball. Guests are divided into teams or “families” and encouraged to root for a specific debutante. Thematically the show explores coming of age rituals, tradition, and the notion of being presented or being on display.

TR: Why is the title of the show Debutaunt and not Debutante? Tell us about the “taunt” part of title.

MJF: The show pokes fun at the notion of arrival. In my twenties I had the mentality that, “when I get this job, or that boyfriend, or when I make more money, then my life can start!”. I was living in the future and missing the good stuff that was right in front of me. When I learned that we actually never arrive, that life is a process, things became more interesting and I was able to show up for my art and the people in my life in a more genuine way. The joke, or taunt, is on the debutante characters who are future tripping and waiting for specific milestones, in this case their “debut”, in order to feel validated.

TR: What inspired the concept and how did this show come to be?

MJF: About a year and a half ago I saw The Glass Menagerie on Broadway starring Cherry Jones. I was particularly moved when Amanda put on her old debutante dress and entertained Laura and the gentleman caller. The image of Cherry Jones in the debutante dress performing heightened feminine gestures stuck with me as did themes in the play like time, aging, and memory. Shortly after seeing the performance, I went home to Texas for the holidays and experimented with some movement in my old debutante dress. My parents were concerned! The experiment turned into a short dance film called Lady in Waiting, and making that short allowed me to dig into the themes and choreography for Debutaunt.

We did our first run of the show last October at King’s County Bourbon Distillery and audiences seemed genuinely interested in the experience and the concept. This was really exciting to us, and when an opportunity came up to do the show again we decided to go for it with the goal of strengthening the narrative and deepening the characters.

The night quickly devolves into competitive chaos.
Vogue

TR: Even an offbeat show in Brooklyn is quite a feat to stage. Who did you work with to get this mounted?

MJF: I’ve been working with friends and producers, Bettina Barrow and Lydia Thew. Bettina has been a close friend since childhood and my writing partner for almost a decade. We have a book to film project coming soon that explores themes similar to those in Debutaunt. Lydia is a talented producer for CNBC and has a background in finance. The three of us have been raising funds since last July through our fiscal sponsors, The Field. Our venues, King’s County Distillery and Atelier Roquette, have been great to work with and helped us out, big time, by providing rehearsal space. I also got to workshop the idea and make many of the films at a dance on camera residency at Cucalorus Film Festival. We have also had performance and rehearsal support from SILO, Triskelion Arts, Lightbox, and Communities In Schools.

TR: You are directing and choreographing the show as well. Tell us about your work as a choreographer. Did you always dance?

I danced growing up and stopped in college when I was struggling with body image issues. Instead of pursuing dance, my first job out of college was an assistant gig in film. From there, I moved to Los Angeles and worked in production at studios like Paramount Vantage and Warner Bros. During that time, dance gradually made its way back into my life and I was eventually ready and able to make it a priority again. I began looking for choreography opportunities and taught at dance studios wherever they would let me. When I turned thirty, I took a major leap of faith, left my production job at Warner Bros., and started freelancing. I am now choreographing, directing, teaching, and blending dance and film whenever I can.

TR: How does dance function in the show? What type of dance is it?

MJF: Much of the movement was inspired by black and white cotillion photographs, contemporary dance, and Esther Williams-style synchronized swimming moves. Because the girls are wearing large white dresses, we rarely see their legs and a lot of emphasis is on the placement of the arms and the movement of the upper body and head. Structurally, dance serves as a transition between scenes in the show. It also functions as a means of expression and storytelling for our characters during their debutante ball and, ultimately, it unites the cast and audience at the end in a communal dance party.

TR: Since much of the show involves movement, how did you develop the characters and the script?

MJF: Some of the scenes were scripted in advance and some came from improvising in rehearsals. We have a really smart and curious cast who have been open to all kinds of improv, movement, and writing exercises. Regarding our characters, we have five personalities: the perfectionist princess, the competitive ice queen, the people pleaser, the rebel artist, and the fish out of water who does not want to participate. I’ve basically taken all of the traits that I think hold us back as humans and put them into these characters. For example, the perfectionist, Beatrice, is a control freak and is constantly telling everyone what to do and how to do it. Everything is measured and calculated and directed. Her movement style is precise and quick. Her bossiness is coming from a good place (“we need some order here!”) but she irritates the group and this keeps Beatrice separate from them. Eventually all of these wacky personalities have to learn to function harmoniously in order to stand up to the Mistress of Ceremonies, Martha McMillen.

Some of the performers have started Instagram accounts for their characters for fun. If you’d like to get to know them early check them out: @catherineelizabethjane, @cecefitx , and @melanieannewinslow.

TR: In the script, you described Martha McMillan as a “steel magnolia who leads with a contagious smile and an iron fist”. Tell me more about this character.

MJF: Much of the Martha character comes from the negative voices in my head (with some major polishing from producer/writer, Bettina Barrow). The negative voices say nothing is enough and that I always need to do more, try harder etc. The voice is insatiable, risk-averse, and narrow minded. Martha is tricky as she delivers some pretty cutting comments, but with a smile. She is hard on the debs because she wants to protect them from the harsh realities of the world. She has had a challenging life and is convinced that by being Mistress of Ceremonies at the deb ball, year after year, she is instilling some kind of hope and order. Martha pushes the girls a little too far in this run and eventually they revolt. Her movement style is precise and quick. Her bossiness is coming from a good place (“we need some order here!”) but she irritates the group and this keeps Beatrice separate from them. Eventually all of these wacky personalities have to learn to function harmoniously in order to stand up to the Mistress of Ceremonies, Martha McMillen.

Some of the performers have started Instagram accounts for their characters for fun. If you’d like to get to know them early check them out: @catherineelizabethjane, @cecefitx , and @melanieannewinslow.

TR: You have spoken very highly of your cast. Is there anyone in particular you want to give a shout out to?

MJF: All of them! I’m listing the cast here so readers who are still with me will look up these talented people: Melanie Comeau, Elizabeth Dunn, Rachel Guest, Brittany Posas, Cara Seymour, Cecily McCullough, Beck Hartke, Catherine Cobb Ryan, Julian Devine, Teddy Tedholm, Taner Van Kuren, Michael Spencer Phillips, and Donna Fish. Read more about them here.

TR: Who are some other artists that inspire you?

MJF: Pina Bausch, specifically the way she blended dance and theater and how her dancers embody human emotion so vividly. Mary Oliver for her poems The Journey and The Summer Day. I am also inspired by Wes Anderson and Christopher Guest and filmmakers who create very specific worlds for their actors to explore. Lena Dunham for her book, Not That Kind Of Girl. I re-read the “condom in the tree” passage whenever I need a laugh and dose of honesty. Kurt Vonnegut for Who Am I This Time? and other shorts. Bruce Weber whose photos are just fun – smoking, naked on a beach – it doesn’t matter. He makes me feel like we are all free to do whatever and that it is okay to take a nap in the middle of the day.

I also have some talented friends and peers whose work really inspires me like photographers Victoria Will and Amanda Jasnowski. Filmmaker, James Ponsoldt. Screenwriter, Natalie Krinsky. Also, choreographers like Shannon Gillen, Celia Rowlson Hall, Chihiro Shimizu, and Dana Katz. Stellar humans and creators!

TR: How do you want to see Debutaunt grow?

MJF: I would love for Debutaunt to find a more permanent home in a convenient location so more folks can see it. Creatively, I am interested in continuing to deepen the script, the choreography, and I would love the time and budget to dig into the film projection piece of the show. We are also looking to enhance our team and hope to bring on a producer who has experience in live and immersive theater for the next run

One heck of a party.
Emily Post meets Lord of the Flies
.

DUJOUR

TR: Do you think there is a place in today’s world for the traditions and culture of the debutante?

MJF: I’m not really sure to be honest. I recently went to some debutante presentations in Texas to research and was expecting to think, “This is elitist and weird and white and why did I participate in this when I was twenty-one? And this tradition should become extinct!”… however, I was surprised to find that I didn’t actually feel that heated about it or observe anything particularly noteworthy or offensive while I was there. The parties are certainly extravagant and some of them take place at country clubs so can be viewed as pretentious; however, I noticed that the girls were all very grateful to be there and respectful. The fathers were proud and doting and it seemed like a sweet exchange between fathers and daughters in that particular community.

I actually left with an appreciation for the warmth and friendliness of Texans and I was reminded of how nice manners can be really attractive! I know it would be way more exciting to give you some dirt, but I didn’t leave with much, other than feeling I had just observed a somewhat bizarre ritual that ended in a dance party.

TR: What’s next for you after the show?

MJF: After we open, I’ll be directing video content for some online magazines, choreographing a film project, and teaching dance and dance for camera at studios and universities. For now I’m doing my best to stay focused on the show and getting people to come and see it. I hope you will join us!

Debutaunt
June 11 – 28th – Fri-Sat- Sun
10 Shows only
Atelier Roquette
63 Commerce Street
Brooklyn, NY 11231
Tickets $ 35
DebutauntBall.com
800 838-3006

Wrestling deb photo: Mary John Frank

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Arts – The Huffington Post
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The Economists’ Voice 2.0

The Economists’ Voice 2.0


The Economists’ Voice: Top Economists Take On Today’s Problems featured a core collection of accessible, timely essays on the challenges facing today’s global markets and financial institutions. The Economists’ Voice 2.0: The Financial Crisis, Health Care Reform, and More is the next installment in this popular series, gathering together the strongest essays published in The Economist’s Voice, a nonpartisan online journal, so that students and general readers can gain a deeper understanding of the financial developments shaping their world. This collection contains thirty-two essays written by academics, economists, presidential advisors, legal specialists, researchers, consultants, and policy makers. They tackle the plain economics and architecture of health care reform, its implications for society and the future of the health insurance industry, and the value of the health insurance subsidies and exchanges built into the law. They consider the effects of financial regulatory reform, the possibilities for ratings reform, and the issue of limiting bankers’ pay. An objective examination of the financial crisis and bank bailouts results in two indispensable essays on investment banking regulation after Bear Stearns and the positives and negatives of the Paulson/Bernanke bailout. Contributors weigh the merits of future rescues and suggest alternative strategies for addressing the next financial crisis. A final section examines a unique array of topics: the stability of pension security bonds; the value of a carbon tax, especially in fostering economic and environmental sustainability; the counterintuitive perils of net neutrality; the unforeseen consequences of government debt; the meaning of the Google book search settlement; and the unexploited possibilities for profit in NFL overtime games.
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Christina Aguilera Impersonates Britney Spears, Miley Cyrus & Others In ‘The Voice’ Promo

We all know that Christina Aguilera does one hell of a Britney Spears impression, but this is a little different.

In a promo for “The Voice,” which will crown its Season 8 winner on tonight’s finale, the 34-year-old singer impersonates Cher, Miley Cyrus, Sia, Lady Gaga, Shakira and Britney Spears.

Aguilera has a knack for impressions as we first learned during her turn hosting “Saturday Night Live” back in 2004, and she previously impressed “The Tonight Show with Jimmy Fallon” viewers with her spot-on impression of Spears’ singing voice, but this time around her take on the pop princess isn’t the most flattering.

“The Voice” airs Tuesdays at 8 p.m.on NBC.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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FASHION NEWS UPDATE-Visit Shoe Deals Online today for the hottest deals online for shoes!

Parrot CK3000 Evolution Advanced Voice Recognition Handsfree Bluetooth Car Kit

Parrot CK3000 Evolution Advanced Voice Recognition Handsfree Bluetooth Car Kit


Highlights: hard-wired Bluetooth car kit includes microphone, dash-mounted keypad, and control unit for hands-free phone calls compatible with all Bluetooth phones works with most factory or aftermarket car stereo systems (may require vehicle-specific adapters for factory systems) automatically mutes your car stereo for phone calls works with up to three Bluetooth phones 3-button, dash-mounted keypad controls all phone menu functions voice-recognition software stores up to 150 names for hands-free dialing (only works with certain phones) noise reduction and echo cancellation technology for clear voice transmission works with TextFriendly service (available from Parrot) for hands-free access to SMS text messages and email dimensions: 2″W x 1-15/16″H x 1″D (keypad), 6-1/16″W x 1-3/16″H x 2-5/16″D (control box) Whats Included: Electronic control unit Keypad with attached 55″ cable Microphone with attached 9.5′ cable Keypad bracket Self-adhesive mounting pad (for keypad bracket) Visor mount (for microphone) Vent mount (for microphone) Dash mount (has attached self-adhesive pad) Power supply cable Mute cable User guide

Price: $
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“Your Voice Like a Rams Horn” Themes and Texts in Traditional Jewish Preaching

“Your Voice Like a Rams Horn” Themes and Texts in Traditional Jewish Preaching


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Body Voice Imagination

Body Voice Imagination


David Zinder’s Body Voice Imagination is written by one of the master teachers of the Michael Chekhov technique of acting training. This book is a comprehensive course of exercises devoted to the development of actors’ creative expressivity, comprising both pre-Chekhov ImageWork Training and seminal exercises of the Chekhov technique. It also details the way in which these techniques can be applied to performance through a discovery of the profound connections between the actor’s body, imagination and voice. This new edition has been fully updated, with revisions and new material: Updated exercises, reflecting developments in David Zinder’s own ImageWork Training An detailed description, with exercises, of ImageWork’s connections to the Chekhov technique A new chapter, bridging the gap between training and performance Body Voice Imagination develops both a comprehensive physical training system and an emphasis on practical character work. This authoritative programme of pre-Chekhov’ training is furnished with essential notes and advice from the author’s vast store of professional experience.

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Author Priya Parmar On Writing In Virginia Woolf’s Voice: ‘It Was Completely Daunting’

A century after the Bloomsbury group’s heyday, the wildly talented group of artists, authors and critics is often best remembered as the social circle of the brilliant modernist writer Virginia Woolf. Vanessa Bell, Woolf’s sister, often recedes to the background in these depictions, but the acclaimed artist was far from a mere supporting player in Woolf’s life.

In Priya Parmar’s new novel, Vanessa and Her Sister (Ballantine, Dec. 30), Bell finally gets a starring role. Told in richly imagined diary entries from Bell’s perspective, as well as invented letters and telegrams between Bell, Woolf and other members of the Bloomsbury group, Vanessa and Her Sister portrays a time of upheaval in the lives of the famous sisters. When Vanessa married Clive Bell, another member of the Bloomsbury group, Virginia was threatened by the perceived loss of her beloved sister, and struck up a long flirtation with Clive in apparent hopes of getting Vanessa’s attention. Parmar’s extensive research into the Bloomsbury group’s correspondence and diaries lends a realistic gloss to her fictionalized account of Bell’s turbulent life during these years.

This isn’t Parmar’s first foray into biographical fiction; she’s the author of Exit the Actress, a novel about Nell Gwyn, the real-life actress and mistress of Charles II. HuffPost Books spoke to Parmar about the Bloomsbury group, writing biographical fiction, and why she’s fascinated by gaps in our historical knowledge.

What inspired you to write about Vanessa Bell and her inner life?
I read a letter of hers that she wrote when Clive Bell was proposing, and she was saying no. I think it was actually the first proposal. And it was just so modern; she basically told him, “I’m so sorry, I really like you a lot, but I can’t marry you. You’re too available, could you just go away and be a little less available, maybe travel out of the country for a year, don’t talk to me, maybe I’ll like you a little better and we’ll see where we are.” It was like a letter that one of your girlfriends would have written and you would have all talked about. It just didn’t seem like it was written in 1905. She really just leapt off the page as a character for me at that point, and I really wanted to read about her. So I started on the research, and the more I read about her the more I just fell in love with her.

Virginia Woolf wasn’t the way in for me, it was Vanessa Bell, and then Virginia was waiting for me when I got there.

Obviously Virginia was very fond of Vanessa, but most people know more about Virginia than Vanessa. Were you a fan of Virginia Woolf or Vanessa Bell before you started looking into this project?
I was. I always loved Virginia’s novels — I have my favorites of her work — and I had always liked Vanessa Bell’s paintings. And I knew about the Bloomsbury group, but I hadn’t read about them exhaustively the way that I have now. I had taken a class in college that looked at the Bloomsbury Group, so I liked them all, but I didn’t spend that much time with them before I started doing this.

Were you nervous when you started writing such an unsympathetic portrayal of Virginia, since she’s so beloved today?
Absolutely terrified. Oh my God, I just dread to think of what my English professors are going to think. I was terrified when I realized — and I actually realized it pretty late — but when I realized I had signed up to write in the voice of Virginia Woolf in the first person, it was completely daunting. But then you sort of get over that, because I’m writing in the voice of my Virginia Woolf, which is the character that’s jumped up out of all the research that I’ve done. It’s fiction, it’s very much fiction, but it’s completely informed by the thousands and thousands of letters that I’ve read.

But it’s really frightening for me when someone tells me that they love Virginia Woolf and then that they are going to read this book. I’m really thrilled and pleased and terrified, and also just, like “Oh God, it may not be the Virginia Woolf that you have in your head.” It’s pretty terrifying.

It’s really interesting because this whole episode has sort of fallen away from her accepted mythology. It’s not really in people’s lexicon of Virginia. It didn’t make it into her official history.

When I heard about the affair, it was very much swept into the category of “Oh, they all have such modern marriages,” but obviously that’s a very simplistic way of looking at it. It also all took place earlier in their lives, before Woolf became a published author. Did you decide to focus on the period when this big change in their lives happened, when Vanessa got married and the affair ensued?
I was really drawn by this period, because it’s a largely unexplored period. They hadn’t done the things that they would go on to be really well known for. I didn’t set out to specifically look at the affair, and I didn’t realize that that was going to be the focus until I was actually writing the novel.

I knew it was going to be about the sisters. I knew it was going to be about the difficulty of, what was it like to be Virginia’s favorite person on earth? It really just turned out to be about the period of time where this huge betrayal happens. Then their life enters a different chapter once Virginia becomes published and once you get into WWI, and once they become a famous literary circle. Then it’s very different. They’re not flying under the radar anymore, and they all know they’re going to become famous. They’re just different people. I was really interested in this period of time before all of that happened, when they weren’t cemented as public figures. And [Virginia’s] suicide is so examined, I really wanted to look at her when she was young.

It was massively daunting.

It seems like they were all very prolific letter writers.
Vanessa Bell — she writes beautifully, she writes beautiful, beautiful letters. She has 3,000 unpublished letters.

Since we see so much through Vanessa’s eyes in the novel, obviously she comes off really well. But in the letters that we see from other members of the Bloomsbury circle, she also comes off as this radiant figure. Is this something that you found in your research, and were you concerned about seeming almost hagiographic toward Vanessa?
They adored her. I mean, they absolutely adored her. She was the center of the group in so many ways, and I don’t think she knew it, which made her very endearing. She’s sort of this shadowy center, because she didn’t leave a diary, and she didn’t put herself into the spotlight. I had to figure out a lot of different aspects of her character from what other people were saying because she was often very self-deprecating in her letters. She never mentioned the affair.

She just seems to have been this really, really remarkable person, and people were just mad about her. And Virginia was, you know, completely crazy about her.

In the book, Vanessa seems cool and judgmental toward Virginia even before the flirtation with Clive begins. Is that something that arose from what you imagined would be her reaction to dealing with someone as difficult as Virginia, or was it based on accounts that people gave at the time?
It’s a mixture of both. I’m really interested in the conflicting accounts of the same event. I find you learn so much in that nexus of what different people say. Everyone has their own lens.

For Vanessa’s character … if you read that many letters by somebody you get to know their tone. This is my fictional Vanessa, but it was also all informed by, you know, if Virginia did something particularly difficult, how Vanessa’s tone in her letters would be, how it would fluctuate and how it would change.

Nonfiction, for me, is the gathering of the facts, and the fiction is the guess, it’s the hat tossed into the ring, the working-out of what might have been the emotional landscape of these people.

This is actually the second novel you’ve written that is historical fiction about a prominent figure. Why do you feel drawn to this sort of fiction?
It’s what I like to read. I love history, and I love in particular the pockets of negative space in history, where we’ll know a lot about Virginia Woolf, and we have her diaries and everything else, but there’s this other person in the shadows who gives a completely different angle. I love taking that and looking at that other, unexamined bit of history.

I love doing it with primary documents because my background is in academics, so I’ve spent a lot of time with primary documents. That might be my comfort zone. You get a Ph.D., and you end up with a lot of primary documents! I love that place where history meets fiction, and it’s been a lot of fun for me to write. I chose Vanessa just because she was the character I wanted to spend time with; she was the character who stepped off the page fully formed. She’s a wonderful writer. Her letters are just as good as Virginia Woolf’s, they’re just held in different basements all over the world and they’re not published.

Do you have a person in mind for your next book?
I’m sort of circling a few people. I haven’t quite managed to walk away from the Bloomsbury group yet, but I’m looking at a few people. I just finished editing the U.K. edition of this book, so I haven’t landed on anybody yet. It’s such a great period, and such a fun group of people. It’s difficult to walk away from them.
Arts – The Huffington Post
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�aye De Mi! – Music For Vihuela & Voice / Frank Wallace

�aye De Mi! – Music For Vihuela & Voice / Frank Wallace


Centaur Records:2112
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The Earth Hath Voice

The Earth Hath Voice


For SATB (with soprano semi-chorus), piano, & optional percussion (bass drum, tam-tam/gong, & 3 tom-toms) This is a colourful and dramatic celebration of nature and its powerful and hypnotizing sounds. The listener is taken on a captivating journey through the natural world, via ‘tongues of thunders’, the ‘singing sea’, and ‘trumpet-throated winds’.. Clustered harmonies, cross-rhythms, and vocal effects are combined with bell-like passages and rippling figurations in the piano, and the optional percussion part adds further rhythmic and dynamic interest. The semi-chorus part can be sung by one or more sopranos or a children’s choir.

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Voice Acting for Dummies

Voice Acting for Dummies


Make a career out of your voice? Easy. Voice acting is like acting, but just using your voice It’s a unique career where the actor’s voice can be heard worldwide-in commercials, on audiobooks, in animated movies, documentaries, online videos, telephone systems and much, much more. The point is to bring the written word to life with the human voice. With step-by-step explanations and an abundance of examples, “Voice Acting For Dummies” is the ultimate reference for budding voice actors on auditioning, recording, producing voice-overs, and promoting themselves as a voice actor.Creating a voice acting demoFinding your signature voiceInterpreting scriptsUsing audio editing softwarePromoting your voice acting talents If you’re an aspiring voice actor or an actor or singer considering a career transition, “Voice Acting For Dummies” has everything you need to let your voice talents soar.

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Voice Is the Original Instrument

My friend Lia Chavez once told me about a quadriplegic yogi who became an expert at describing the vivid shades and textures of the black space we see when we close our eyes. This space is literally behind the viewing plane, meaning it’s behind our eyes, and this one man spent a lot of time meditating on the shapes, lines, and tones that made up this internal landscape.

This story inspired me to pay more attention to my own black space, and one of the things I have noticed is the way music produces colors when I listen with my eyes closed.

This stroboscopic effect only happens when my eyes are closed and when the music is unaccompanied by lyrics. Yoga music, jazz, and violin concertos create a particularly vibrant black space, but until recently, I have never experienced this biochemical reaction when music includes the human voice.

As part of Performa 13, Mark Beasley has curated a program on the voice. The first of these concerts took place on Saturday, November 2. It was called Voice is the Original Instrument, and featured Maja Ratkje, Joan La Barbara, and M6: Meredith Monk Music Third Generation. These performers use the human voice to create sound (like a piano) rather than language (like lyrics). Historically, this has been referred to as extended vocal technique.

I closed my eyes during the performance and my viewing plane was illuminated with a pas de deux between warm gem tones. These musicians were using their voice to communicate nonverbally, and I have never heard the voice used this way before. It was a completely virgin experience, and I think that’s part of what we hope for when we see performance — to feel something new.

Of course, Joan La Barbara and Meredith Monk have been playing in this arena for years, but for a younger generation of art explorers, it’s a concept well worth revisiting, especially now that the voice is being manipulated digitally in the recording studio. It’s this constant toggling with the voice to create “perfect sound” that sends a message that the voice does not naturally contain incredible power in its more raw form.

There are unorthodox conduits with the power to heighten sensorial experience and with the potential to expose feelings we don’t even know exist — and your voice is one of them. The success of The Voice As the Original Instrument was how it illuminated the power of the voice when it’s stripped of language in its vernacular form. Truly the power of performance at large is the heightened sense of reality the stage creates. Live performance adds a particularly visceral experience.

The third and final installment of The Voice will take place this Saturday, November 12 with To Breathe is Not Enoughhttp://13.performa-arts.org/event/to-breathe-is-not-enough, featuring Karl Holmqvist, Will Holder, and Angie Keefer.

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Arts – The Huffington Post
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