If I go away, I take a little picture of my son. It's in a frame with a speaker, and he recorded a birthday message for me when he was nine or 10. I can't listen to it without filling up.
Tell your idea to whomever will listen, and you'll get valuable market feedback before writing a single line of code.
The music that I listen to is very minimalistic. I listen to a lot of old blues that is just guitar and vocals.
Collaborating with someone on music is the same way you'd go about hanging out. You have to listen more than you talk.
Indeed, willingness to challenge professional economists and other experts is a foundation stone of democracy. If all we have to do is to listen to the experts, what is the point of having democracy?
I work directly for the boss. I listen to everybody, but I have one man whose voice is louder than everybody else's.
You've got to be actively involved in the process yourself and you've got to listen carefully to what the coach is saying, take that on board yourself and implement what the coach is saying.
Believe in yourself, listen to your gut, and do what you love.
Yeah, I always listen to both classic and newer folk-influenced music. Singer-songwriter, alternative music. I also listen to more experimental dance music.
Listen to people and treat people as you find them. There's an inherent goodness in most people. Don't pre-judge people - that was me Mam's advice anyway.
When I'm in a bad mood, I don't listen.
Listen, real poetry doesn't say anything; it just ticks off the possibilities. Opens all doors. You can walk through any one that suits you.
If you listen to a lot of the songs that are popular now, there's very little melody in there. People love the beat. But to musicians, it's melody, because we understand how elusive it is and how hard it is to hold.
That one woman is capable of loving another is an historical truth; but never yet lived one who could not listen to her own praises at the expense of her adored friend.
I'm always trying to emulate guitar. Especially when I'm playing the trombone, that's what I think about. Like, I listen to guitar players every day: Warren Haynes, Lenny Kravitz, Prince, different people. And I'm always trying to find out a way how I can get my trombone to sound like that.
I have a feeling a lot of the records I grew up listening to and the records I still like, as hard as musicians worked making them, I feel like they were really enjoying what they were going through. They weren't just going through the process. You can tell that with certain things that you listen to.
I guess the President says the majority of the people didn't elect him, he doesn't have to listen to 'em anyway.
I read murder mysteries. I exercise 40 minutes a day. I watch videotapes while I exercise. I listen to audiotapes when I am in my car. And I try to stay in three different centuries.
A short story collection can be as exciting as a novel. It is a real complete experience, like when you listen to a real good recording, a Beatles record, and there are so many good songs.
I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.
As far as favorite 'overall package' record of all time, I'd have to say 'My Girl' by The Temptations. I like everything about it, not only the composition - but the arrangement, the production, the lead vocals, the background vocals, the horns, the strings. That one I listen to over and over again.
I like to listen to mellow stuff on the road like Travis, as we are constantly surrounded by rock music on tour and so its nice listening to mellow stuff. Obviously back at home I listen to a lot more rock music.
At the Isle of Wight, the sound went out and kind of kept on going. And I wasn't... when I came off stage I was kind of unhappy about how we had played. But now, I listen back to those recordings and it's not bad.
I never go back and listen to the recorded document. The thrill comes when the balance can be attained. Everyone in the room can have a shared, communal rock experience.
As I get older, I'm slowing down and, yes, calming down in my desire to be taken seriously. That I can be entertaining and funny and high nervous energy can work against me as a serious composer, slowly but surely you'll see me be quieter just so that people will listen.
I listen to podcasts while I run in Boise's foothills.
I'll admit that I'm not quite certain how to sum up an entire year in music anymore; not when music has become so temporal, so specific and personal, as if we each have our own weather system and what we listen to is our individual forecast.
I didn't listen to executives.
Coaches have to watch for what they don't want to see and listen to what they don't want to hear.
With a film, you can get into it and love it. With music, you can listen to over and over again, but with music videos, they're like this short little stab.
But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.
I want to communicate through my music. If you want to know Geri Halliwell listen to my album: it tells you more about me than a documentary ever could.
I listen to Christian music.
I want them to listen to me for what I am saying. And I think the best way to do that is to sniff my armpits, and like, sit and burp every now and then.
But I like to listen to demos. I like to hear the finished product. It's like listening to a song - I mean, a story. If you're going to sit here and tell me a story, I just like to listen. I don't want to make them up.
I try to use my voice. I know that celebrity is valuable, and people do listen.
