We provided complete protection to witnesses - right of attorney, right of record, right to cross-examine, and open hearing if they desired. Only Mr. Lane asked for an open hearing.
To me, the object of practicing is to allow you to play what you hear. But you're always hearing new things, so you never get to the end of it.
For goodness sake, will they hear, will white people hear what we are trying to say? Please, all we are asking you to do is to recognize that we are humans, too.
Backstreet Boys fans don't want to hear the New Kids singing all of their hits. Just like our fans don't want to hear the Backstreet Boys singing all of our hits.
I know I'm stronger in the songs than I really am. Sometimes I need to hear it myself. We all need to hear those empowering songs to remind us.
It's not that complicated. If you hear something and it makes you want to hear it again, that's the ticket. You have to be lucky enough to find geniuses, welcome them and get out of their way.
I have no clue why, but maybe sometimes when there's someone you don't hear from, it's the person you want to hear from the most.
To hear my mother say, 'Michael is dead,' to feel and hear the tone in her voice to say her child is dead, is nothing that anyone can ever imagine.
I am imagination. I can see what the eyes cannot see. I can hear what the ears cannot hear. I can feel what the heart cannot feel.
You're not going to hear me do a rap song, you're not going to hear me do a jazz song. We have to be true to our roots, do what we do, and try to do it a little better each time.
The group-effort sound in recording of 'Sea Lion' is like, you really hear all the people in the room and hear them interlocking. There's a real freight-train energy of all these people at the same time playing.
For myself, for a long time... maybe I felt inauthentic or something, I felt like my voice wasn't worth hearing, and I think everyone's voice is worth hearing. So if you've got something to say, say it from the rooftops.
I started rapping because I wanted people to hear what I have to say, I want as many people to hear me as possible, and I do everything in my power to make that pop.
Many of my songs were dance orientated from way back. That's because I love dance! When I hear a dance number, just hearing the first eight bars, it immediately makes my bod start moving and dancing.
When I hear music that parents hate, or older musicians hate, I know that's the new music. When I hear older people saying, 'I hate Rap or Techno' I rush to it.
I find that, maybe because I'm also a singer, I hear music in characters all the time, even if they don't sing. I hear what affects me in my heart.
When you first hear Mozart's music, your first impression is that it's very alive, but if you peel away the layers, you can hear sorrow and sadness behind it, and that's what I try to be: multi-layered.
Maybe you're going to a concert thinking you're not going to hear anything but music. But you may walk away from there with an answer to a problem that you're carrying around with you that you didn't think you were going to hear about.
Solitude is such a potential thing. We hear voices in solitude, we never hear in the hurry and turmoil of life; we receive counsels and comforts, we get under no other condition . . .
If you have an anecdote from one source, you file it away. If you hear it again, it may be true. Then the more times you hear it the less likely it is to be true.
I don't like to hear cut and dried sermons. No—when I hear a man preach, I like to see him act as if he were fighting bees.
