A Quote by Allen Iverson
Man, I'm 31 years old and a husband with four kids; I hope I'm no thug. I hear all those negative things and don't hear anything positive. I think that's all those people feel... that way that's all they hear about when you hear Allen Iverson did something negative or something.
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Normally you hear about Southeast London, and you hear about all the stuff that goes on down there, all the negative things, and the tabloids kind of stay away from all the positive things that happen that I see every day, which kind of outshines the negative.
You hear certain things, negative things, all the time that aren't true, but you never hear about the positive.
What I've learned from my gurus is that when you hear music, you hear a person, or you hear people, and you hear everything about them in those moments. They reveal themselves in ways that cannot be revealed any other way, and it contains historical truths because of that. To me, that is the most important thing. It shouldn't be a footnote, or the last chapter. It should be the complete thesis about a book on listening.
I think right now is when we need to hear different voices coming out of all parts of the world. You can't just hear the politicians and the military leaders. You have to hear from the taxi drivers. You have to hear from the painters. You have to hear from the poets. You have to hear from the school teachers and the filmmakers and musicians.
I'm sure people in the business have said: She's too old for that part. I don't hear about it because your agent protects you from those negative things.
Some people can't physically hear things. A kid that listens to Metallica or something can't hear that, because he's filled himself up with this stuff, he physically can't hear a banjo or a harp or something.
You hear as many things as you would imagine. I hear voices of people I loved once. I hear moments that took place. I hear silences.
I try not to hear anything negative about me, and if I do hear it, I try to block it out.
Most people don't take some things into consideration. When they hear an album, they hear the artist or they hear the lyric or they hear the melody. But they don't really think about the environment in which it was recorded, which is so important. It's that thing that determines what the album sounds like.
Start listening to what you say. Are your comments and ideas negative? You aren't going become positive if you always say negative things. Do you hear yourself say"I could never do that","I never have any luck","I never get things right". Wow - that's negative self-talk! Try saying"I am going to do that","I am so lucky""I always try to get things right". Can you hear how much better that sounds?
Every artist wants some sort of feedback, because you make this music and you hope people love it and you want to hear if they love it and what they love about it, what their favorite song is, what they think the next single should be. I like to hear those things.
...what's always exciting is when you hear something amazing when you least expected it. Every now and then I'll hear something for the first time that forces me to re-examine my frames of reference, and re-consider musical parameters in general, and that's wonderful . And what's even more wonderful in a way, is when you hear something that you know, and already think you have an opinion about, and then suddenly discover that it isn't what you thought it was, but something quite different, which makes it just as surprising as if you'd never heard it before. That's REALLY great!
When people ask me about my dialogue, I say, 'Don't you hear people talking?' That's all I do. I hear a certain type of individual, I decide this is what he should be, whatever it is, and then I hear him. Well, I don't hear anybody that I can't make talk.
You hear it in the great musicians, whether it's a drummer or a horn player or a guitar player - you hear them take those breaths. You can feel that there's something they're trying to tell you.
There's a perception that if an artist produces another artist, they're going to imprint on them. But I'm the opposite. I want to hear that artist; I don't want to hear me - that's the last thing I want to hear. There are a lot of technical studio things I've learned or figured out, and I feel like I could use those things to help other people with what they're doing.
I always talk about the reporters that grovel when they wanna write something that you wanna hear but not necessarily millions of people wanna hear or have to hear.
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