Best 1940 quotes in «listening quotes» category

I don't see how being married could be any worse than listening to you talk for twenty years, but that still ain't much of a recommendation for it.

I don't think anybody is anybody else's moral compass. Maybe listening to my music is not the best idea if you live a very constricted life. Or maybe it is.

I don't think anyone listening to my music needs any special knowledge. They don't need to have a background in contemporary music. They don't need to go to new-music concerts all the time in order to be able to understand it.

I don't think anything will change until Americans revolt and get it into their heads that they need to be informed voters instead of just listening to the paid political ads.

I don't think of myself as a folk singer per se, but I really like blues and string-band music. When I started listening to records when I was a teenager, the folk boom was going on.

I don't think you'd call me a traditionalist. But you can say I have an old soul, because I grew up listening to Conway Twitty and Hank Williams.

I'd still say that visiting the stores and listening to our folks was one of the most valuable uses of my time as an executive. But really, our best ideas usually do come from the folks in the stores. Period.

I enjoy listening to opera at home, occasionally, but I would much rather see it than just listen to it.

I enjoy writing rhymes and sitting alone in a room listening to beats. It's pretty amazing.

If a man has enough power, he can speak softly and everyone will listen

If anybody had a sense of history, it wasn't me, I'll tell you that. I, I was just enjoying life and, and making a living and, and, you know, listening to all this good music. No, there was never in my mind any kind of sense of history, nothing.

If animals could talk, the world would lose its best listeners.

If anything I think we connect to what our parents were listening to when they were our age. I'm listening to a lot of classical and electronic music, like Aphex Twin, non-vocal music.

If a teacher wants to know something why doesn't she look it up herself instead of making we students do it? We benefit ourselves more by listening to her, after all she's the teacher!

I feel I have to play a role in the transformation of my thoughts. Music is the most powerful way for me to do that, through my own music, through listening to other people's music.

If I could talk it like Dahoum, you would never be tired of listening to me.

I feel that the BBC World Service is not as versatile as it used to be - or perhaps I'm not listening at the right times.

If I dare to hear you I will feel you like the sun And grow in your direction.

I feel that people spend as much time skipping songs as they do listening to them in their library.

If I'd been listening closely, I'd have caught the sound of the gods having a great big old tee-hee at my expense.

If I do three interviews in a day, I can be exhausted, because the process of hearing everyone requires that I empty out myself. While I'm listening, my own judgments and prejudices certainly come up. But I know I won't get anything unless I get those things out of the way.

I figured if you want to get to where John Hammond is or Billy Gibbons is or Peter Wolf is, you have to start listening to the same stuff they did, and learn from that, and that's what I did.

If I had it to do again, I'd ask more questions and interrupt fewer answers.

If I had to give up reading or give up listening to music, I suspect I'd stick with the music.

I find it creatively satisfying to write material and say it out loud in a public place, whether or not anyone's listening.

If I make a movie that has a whole bunch of music in it, I get to listen to the music all day long, and I don't have to say, 'Well, I gotta go back to work and I gotta stop listening to the music.' I get to listen to music and go to work.

I find listening to music in terms of influences, and trying to keep up with what's going on, is sickening! I mean, I'm not deliberately musically illiterate. But I have a pretty serendipitous approach to it.

I find it very difficult not to write in any sort of Sudanese style. With Sudanese music, there are very specific things that happen with the syncopation of the drums, melodies and stuff. And whenever I write, that's always the first thing that comes out, because I grew up listening to it. It's a part of me, so I try to bring that out in the music. I think that you have to be honest with what you do, and that's the most honest thing that I can do, is to write that way.

If I'm improvising and I'm not doing well it's because I'm not listening very well. Either I'm overly concerned with something or I'm drifting or maybe I'm too stoned but I'm not getting a clear signal.

I find that jazz loosens up the deep place of my mind, lets me find my own strange rhythms. Generally, I find the knottier the jazz, the better. Anything with singing is a distraction. Listening to classical music tends to have the unconscious effect of making my writing too smooth.

I find myself more affected by music the more I do it. Particularly when you're touring and you're in the bus and you're listening to loads of music. Life becomes far more dramatic, I guess - you're never in the same place, you're constantly meeting new people. You almost become more sensitized to music.

I find the songs I want to record by listening to as much music as I can. 'When I hear things I really like, I ask the writers to send me a tape of everything they've ever written.

If I said who I was influenced by, it would be really weird and pretentious because it would be people who have nothing to do with what I do. From a listening perspective, there's just something in their playing that I'm inspired by.

If it's worth listening to, it's worth questioning until you understand it.

I found the speech, after listening to it in context, vile in manner, repugnant, malicious, mean-spirited and spoken in mockery of individuals and people, which is against the spirit of Islam. While I stand by the truths that he spoke, I must condemn in the strongest terms the manner in which those truths were represented.

If someone else was in the room, I wouldn't feel comfortable doing what I wanted to do. I would try to play something that the other person or people would love or would like, at least. Nothing was true because I was not playing what I wanted, and they were not listening to anything that was coming from anywhere true.

If somebody told me, "Not a good idea," I would've said, "No, it's probably a good idea if you get drunk with me." I would've flipped it around on them. There was no way you could tell me anything. I wasn't listening to any type of reason.

If we were meant to talk more than listen, we would have two mouths and one ear.

If we play to first time Blink 182 listeners, it's good they are listening to us and not the Backstreet Boys. Old Fans or new fans, it's all the same to us.

If you and I are not having a dialogue, when you're having an argument, the reason the argument happen is because we are not listening to each other. Then, the argument comes in, but if we truly listen instead of hearing, argument will not happen. Then, we'll empathize, and then once the empathy kicks in, you will be much more inclining with my viewpoint and I'll be inclining with your viewpoint, and that's what is missing in organizations.

If there's one thing I've learned about women, which I try to pass on to my boys, it's listening. Listen to the other side of the story first.

If we can change ourselves, we can change the world. We're not the victims of the world we see, we're the victims of the way we see the world. This is the essence of Compassionate Listening: seeing the person next to you as a part of yourself.

If we look at the world around us, we see that we are conditioned to not listen deeply. Because isn't that what silence is? It's a listening, a deep wordless listening.

If we try to listen we find it extraordinarily difficult, because we are always projecting our opinions and ideas, our prejudices, our background, our inclinations, our impulses; when they dominate, we hardly listen at all to what is being said...One listens and therefore learns, only in a state of silence, in which this whole background is in abeyance, is quite; then, it seems to me, it is possible to communicate

If you are a Steve Earle and you're up on a platform and there are people out there listening to you, say something to them. Tell them something valuable. Tell them something they need to know. It doesn't have to be dictatorial, it just has to be informative.

If you aren't creeped out by the No Birth Control Left Behind rhetoric of the White House and Planned Parenthood, you aren't listening closely enough. The anesthetic of progressive benevolence always dulls the senses. Wake up.

If you believe you are the beloved of God, you need to spend time listening to his voice - period! You can't say, "Yes God calls me the beloved, but I have to go out to do something now.

If you are a writer, or want to be a writer, this is how you spend your days--listening, observing, storing things away, making your isolation pay off. You take home all you've taken in, all that you've overheard, and you turn it into gold. (Or at least you try.)

If you ask me about music and how things should be played, I believe that music-making is the combination of having learned how to do something right, what one feels is right to do in the moment, and the way the audience is listening.

If you don't have the possibility of listening to music, you can't know if you love it.