People don't want to hear about me having leather walls or gold toilets.
I and my public understand each other very well: it does not hear what I say, and I don't say what it wants to hear.
I try to give the music more of a campfire feel as opposed to a library atmosphere. I like when you can hear people hanging out in the songs and doing a little shuffling. It creates a feeling of participation.
As a lawyer, I've dealt with really serious offences, and the public rarely hear what the true impact is on the victims' families. When you hear it from the mouths of victims, your entire approach changes, because it could happen to anybody, and they articulate that in such a powerful way.
Honestly, if the public still wants to hear me in some works, I have to go down a half step.
Living with the liberals, you get to hear their arguments, fight with them all the time. Keeps me alert.
Composers are the only people who can hear good music above bad sounds.
I don't believe that saying things because you feel they are what people want to hear is the right way to be in any part of your life.
So many shows don't have laugh tracks now that, when you hear it, it can be slightly jarring.
Time and again, a student will send me an urgent appeal to hear her, saying she is poor and wants my advice as to whether it is worthwhile to continue her studies. I invariably refuse such requests, saying that if the student could give up her work on my advice, she had better give it up without it.
At some point, you're just happy to be a working actor, but to be able to do it with people you really love and enjoy spending time with, it's just such a rare thing. You hear so many horror stories.
When I hear anything derogatory towards the Raiders, I am definitely hurt.
Avoid inquisitive persons, for they are sure to be gossips, their ears are open to hear, but they will not keep what is entrusted to them.
What you see with your eyes when you're making music is going to have a profound effect on what you hear.
All through the night, like the tumult of a river when it races between the cliffs of a canyon, in my sleep I could hear the steady roar of the passing army.
I think when someone is injured in your family, you want to speak to the individual and you want to hear their voice and you want to make sure they are OK.
Over and over, we hear politicians say they can't spend our tax dollars on environmental protection when the economy is so fragile.
You don't hear it on the radio. There's something about the voices in Sleater-Kinney that's a little too challenging to ever be on the inside.
Yes and for two reasons: one, I couldn't find anything to imitate at the time, and secondly because what I heard on the radio didn't bear any resemblance to what I wanted to hear on the guitar.
I fully believe in ghosts. I have, my entire life. The first house I ever lived in was haunted. There was a grave of a man in the backyard. I was just a baby then, but my parents would tell me that every night, at the same time, they would hear someone walking up the stairs.
When I listen to Radio 1 and hear five different tracks in a row using old disco samples, well that's plagiarism, that's taking other people's music.
The temple bell stops but I still hear the sound coming out of the flowers.
I like working on stage because there's something very immediate about it, that interaction with an audience where you immediately hear their reaction, or feel them, whether they're with you.
I hear a lot of influence from me and Timbaland's whole sound in a lot of records of today. But if you have classics like that, then I'm sure you gotta expect that it's gonna influence some people. So, I'm fine with that.
When you write for a show that's not yours, your job is to hear the voices of the characters and write as best you can for those voices.
To outsiders it probably seems like splitting hairs, but to me, Bright Eyes is a simply the collaboration between myself and Mike Mogis and Nate Walcott. What you hear is definitely the sum of all our ideas and represents all three of us. But I still write the songs myself.
You read in any war stories - World War II, whatever - that there are many, many heroes. There are the main stories you always hear about, but there are all these other little people that did things that were very important that we don't always know about.
To this day, I've found that it doesn't matter what a guy looks like if he's really funny. His sense of humor makes him attractive. On the other hand, you don't hear men saying, 'No she's not pretty, but is she ever funny!'
A modest man is usually admired, if people ever hear of him.
You hear a few people saying that, you know, maybe some of the past male players like to watch me play or whatever else, just because I play a bit differently and maybe they can relate to it a bit more with a bigger forehand rather than a backhand, good serve and whatnot.
It's always nice to hear people say, 'You sound the same,' when I know I don't.
When I hear my friend John Boehner say that we have the best health care in the world, I don't dispute it for a moment. If I were sick, this is the country I want to be in, with these doctors, these hospitals, and these medical professionals.
I can only speak for myself, and hope people hear my words and see me on television speaking for myself. And, hopefully, they'll be able to make their own judgment. And at the end of the day, I just want my work to speak for itself.
I feel like Eurovision is a parallel dimension. It reminds me of 'Dance Fever' and 'Solid Gold' when I was a kid. Then when you hear these songs sung in English by someone who may or may not understand the words, the unique awesomeness hits you.
A tour is the most intense, stimulating way to hear music; it's the best form to receive it. There's genuine excitement from people. I feel like we've stepped up a level.
There were times I thought I was going to turn to the blues, but then I'd hear better blues players.
