Quotes About Hear

I hear hundreds of years of life. I hear wind and rain and fire and beetles. I hear the seasons changing and birds and squirrels. I hear the life of the trees this wood came from.

The people who go get an LL album want to hear LL. They don't want to hear LL trying to sound like DMX or whoever else is out there. That's not what they want to hear from me, because if they want to hear that they can go get the real thing.

We must follow the ways of the Lord, and take heed to our own ways, lest they lead us into sin. One can take heed if one is not hasty in speaking. The law says: 'Hear, O Israel, the Lord your God' (Dt. 6:4). It said not: 'Speak,' but 'Hear.' Eve fell because she said to the man what she had not heard from the Lord her God. The first word from God says to you: Hear!

I can hear you, the rest of the world can hear you and the people who knocked these buildings down will hear all of us soon.

I feel like the older I get, the more I start to think about life in general. All the clichés that people tell you, the ones that you hear over and over and over again, there's a reason they're cliché, there's a reason you hear them over and over again, because it's all true. As much as you don't wanna hear it, it's true. You'll find out later on, like "Man, they're all right."

When the highest type of people hear Tao (Truth), they diligently practice it. When the average type of people hear Tao, they half believe in it. When the lowest type of people hear Tao, they laugh at it. If they did not laugh, it would not be Tao.

I like you a lot and because I like you, I keep following you. To be honest, I can't hear either. No, I can hear, but I only wanted to hear what I want. That you liked me, that you wanted to be with me.

I could hear my heart beating. I could hear everyone's heart. I could hear the human noise we sat there making, not one of us moving, not even when the room went dark.

We hear warmongering every day, every day we hear threats and attempts to scare us. [...] We don't want war and never wanted, but at that time [i.e. during Nagorno-Karabakh war] we had to defend our Motherland. If the time comes again, this time our blow will be final and deadly.

James says that you deceive yourself if you only hear the Word but do not do it. How many people live in this deception their whole life-hearing and hearing, but never even trying to do what they hear!

I hear about people getting shot all the time. But most of the guys you hear about getting shot pulled through.

Often for me, if I hear a song I know, it clicks for me and I hear it in a different way and I think, "I could sing that song. I've got something to say about that song. Wanting to connect with an audience and wanting them to rethink songs; it is actually important to do songs they're familiar with. Also, I love those songs. In a way, I think I've changed people's perceptions of what a cabaret show like this could be.

People rarely speak of children; you hear of 'cohort groups' and 'standard variations,' but you don't hear much of boys who miss their cats or 6-year-olds who have to struggle with potato balls.

I don't think there's a problem. First of all, I don't think music turns people into social liabilities. Because you hear a lyric - there's no medical proof that a person hearing a lyric is going to act out the lyric. There's also no medical proof that if you hear any collection of vowels and consonants, that the hearing of that collection is going to send you to Hell.

Those who have ears to hear, will hear

I don't want to hear about the endless struggles to keep sex exciting, or the work it takes to plan a date night. I want to hear that you guys watch every episode of The Bachelorette together in secret shame, or that one got the other hooked on Breaking Bad and if either watches it without the other, they're dead meat. I want to see you guys high-five each other like teammates on a recreational softball team you both do for fun.

None of my clients are criminals, but to a much lighter degree that's what goes on. I hear the story, and I hear it with the level of detail that breeds empathy.

Rule Number One for working for a white lady, Minny: it is nobody’s business. You keep your nose out of your White Lady’s problems, you don’t go crying to her with yours—you can’t pay the light bill? Your feet are too sore? Remember one thing: white people are not your friends. They don’t want to hear about it. And when Miss White Lady catches her man with the lady next door, you keep out of it, you hear me?

People want to hear clean sounds; they don't want to hear coughing in the background, pages turning.

I hear them mumblin, I hear the cacklin I got em scared, shook, panickin

There's a sadness to all kinds of music if you want to hear it. There's also happiness to it if you want to hear it.

We love to hear some men speak, though we hear not what they say; the very air they breathe is rich and perfumed, and the sound of their voices falls on the ear like the rustling of leaves or the crackling of the fire. They stand many deep.

Some things you hear with your ears. Others, you hear with your heart.

The script is like music to me. I approach it like it's a musical piece and I hear how it's supposed to sound when people say the words. There's rhythms and there's intonations and things, and so, when somebody comes in and hits the notes that I hear, I go okay. Or, they come close enough, and then I'll say "Well how about you try it like this?" and if they have a good ear and they can pick it up, then I think okay, they've got it.

I've been back in New York a year and a half now. Before that I was on the West Coast for five years. There's no comparison between the two. You hear things in New York you don't hear anywhere else. Unless these guys go out. Quite a few make it out to the Coast. Of course, you can't stay in New York for ever. You have to move.

When you want to hear a philosopher, do not say, 'You say nothing to me'; only show yourself worthy or fit to hear, and then you will see how you will move the speaker.

Nonfiction narratives are really powerful and valid in themselves. But one thing that you don't get sometimes from the more clinical or academic books or nonfiction books is that you don't get to hear the person's voice; you don't get them as individuals. You get a few quotes and you hear them as sort of a case study: numbers, examples, anecdotes, maybe a paragraph here, and that's about it.

When you get called the n-word, as a black person you can do anything. It's like getting a gold star in Super Mario Brothers and junk. I hear the music when I hear the n-word. I get right into it; I get really into it. You can do anything. You could be in a fancy restaurant - just start throwing poop at the walls. People be like, 'What are you doing?' 'Someone called him the n-word.

People hear you on the level you speak to them from. Speak from your heart, and they will hear with theirs.

Organismic awareness is awareness of the Present only - you can't taste the past, smell the past, see the past, touch the past, or hear the past. Neither can you taste, smell, see, touch or hear the future. In other words, organismic consciousness is properly timeless, and being timeless, it is essentially spaceless.

This Lullaby is only a few words, a simple run of chords, quiet here in this spare room, but you can hear it, hear it, wherever you may go, even if I let you down, this lullaby plays on.

O hark,O hear! how thin and clear And thinner, clearer, farther going! O sweet and far from cliff and scar The horns of Elfland faintly blowing! Blow, let us hear the purple glens replying: Blow, bugle; answer, echoes, dying, dying, dying.

Biblically speaking, to hear and not to do is not to hear at all.

The story is the only thing that's important. Everything else will take care of itself. It's like what bowlers say. You hear writers talk about character or theme or mood or mode or tense or person. But bowlers say, if you make the spares, the strikes will take care of themselves. If you can tell a story, everything else becomes possible. But without story, nothing is possible, because nobody wants to hear about your sensitive characters if there's nothing happening in the story. And the same is true with mood. Story is the only thing that's important.

At night in the country, you'd be surprised how that music carries. You could hear my guitar way before you get to the house, and you could hear the peoples hollerin' and screamin'.

We have to hear how [Donald] Trump is the bad guy and Trump poses the problem. And it's just maddening, infuriating. I hear you. I'm totally on the same page with you.

I'm just going to stay here, in the darkness under the arch. I can hear you all out there, trip-trapping, trip-trapping over my bridge. Oh yes, I can hear you. But I'm not coming out.

My first advice would be to read, read, read, which sounds interesting coming in a digital age, but it's so much easier to listen to a poem than it is to sit down and actually read it and to hear it in your head and that is something that every poet or aspiring poet needs to be able to do, I think to hear it in their head.

We only see what we want to see; we only hear what we want to hear. Our belief system is just like a mirror that only shows us what we believe.

In school, I was always being cast as the clown. And then I did The Exorcism of Emily Rose (2005), and once people hear you scream, they can't un-hear it. But I don't mean to say that I've been typecast, either.

If you get on the radio, people hear it, they buy the record. If you get on Spotify playlist nowadays, people hear it, they buy the record.

When we hear a Mozart piano concerto today, we're most likely to hear the piano part played on a modern concert grand. In the hands of a professional pianist, such a piano can bury the strings and the winds and hold its own against the brass. But Mozart wasn't composing for a nine-foot-long, thousand-pound piano; he was composing for a five-and-a-half-foot-long, hundred-and-fifty-pound piano built from balsa wood and dental floss.

I never wanted to do the mixtape circuit and 300,000 people hear it and that's a chapter of my life and when I do another album I'm coming off of that chapter but the whole world didn't hear that chapter so it's like I would have to start over.

When I was 10, I would hear songs like "I Love You Always Forever" by Donna Lewis on the radio, and I want to make stuff that a 10 year old might hear coming out of the radio and think, "Yeah! I love this!"

It would be a wonderful experience to stand there in those enchanted surroundings and hear Shakespeare and Milton and Bunyan read from their noble works. And it might be that they would like to hear me read some of my things. No, it could never be; they would not care for me. They would not know me, they would not understand me, and they would say they had an engagement. But if I could only be there, and walk about and look, and listen, I should be satisfied and not make a noise. My life is fading to its close, and someday I shall know.

Some people have said that I can 'hear' a hit song, meaning that I can tell the first time a song is played for me if it has potential. I have been able to hear some of the hits that way, but I can also 'feel' one.

I remember a time when I would hear a band and then want to hear everything that sounded like it; I wanted it to feel like I was tapping into a thing, even if it wasn't.

The only master that exists, the only one that's true and believable is your own conscience. To find it you have to stand in silence-alone and in silence-you have to stand on the naked earth, naked yourself and with nothing around you, as if you were already dead. You don't hear anything at first; the only thing you feel is terror, but then you begin to hear a voice, away in the background, far off; it's a calm voice, and maybe its banality gets on your nerves to begin with.