A Quote by Camila Mendes

A good listener goes a long way. — © Camila Mendes
A good listener goes a long way.
I'm very thankful, hearing impairment or not, that I've brought listening into my life. I will never say that I'm a good listener, however. Thinking that I was a good listener was one thing that kept me from being a good listener. It's a very dangerous thought. I just want to be better.
A good listener is not someone with nothing to say. A good listener is a good talker with a sore throat.
Writing original songs is much, much harder (I think) because you only have yourself to conjure up EVERY single moment a listener is going to hear. It's a craft that goes directly from your brain to their ears. You can never be sure that what you're writing is gonna be good enough to keep a listener engaged and truly experience something. It's a shot in the dark.
This is just the way it goes: there's always a cycle with music - it goes up and it goes down, it goes risque and it goes back, it goes loud then it goes soft, then it goes rock and it goes pop.
The challenge for a good musician is to bring out compositions that seem fresh to the listener, even if the listener has heard the song or the composition before.
The best thing I could say is you do have to be a really good listener. If I go to a family reunion, and there's 400 people there, everybody comes up and tells me their stories, right? And I think that when you're a good listener, and you can imagine how someone's talking, dialogue is your key friend, is it not?
When I speak of the gifted listener, I am thinking of the nonmusician primarily, of the listener who intends to retain his amateur status. It is the thought of just such a listener that excites the composer in me.
People are always going to have favorite albums or songs and you know that's more the listener's personal bias than basing it on anything musical or actual. I'm the same way as a listener.
I just have a vision of something, and it seems to go a long way. One thought goes a long way.
Music should be demanding for the listener. You can gain more out of it that way. I always try to leave space in the music for the listener to have their own experience of it, so it's not bombarded with only one meaning.
One night I couldn't sleep at three in the morning and I thought, I'm going to color-coordinate my closet. And I did. There's a whole system. It goes from white to black and then all the colors in the middle. Then it goes by tank tops to T-shirts to long sleeves, and then it goes to the next color. Then it goes to sweaters the same way.
I can't live without Radio 4. It's worth the entire licence fee. I'm an obsessive listener; I get up, and Radio 4 goes on, but it goes off when 'Thought for the Day' starts, as that's a step too far.
A good story is alive, ever changing and growing as it meets each listener or reader in a spirited and unique encounter, while the moralistic tale is not only dead on arrival, it's already been embalmed. It's safer that way. When a lively story goes dancing out to meet the imagination of a child, the teller loses control over meaning. The child gets to decide what the story means.
I suppose my job is to describe spaces that are honest to me. And the goal, I suppose, is that the listener can hear themselves in some way in that song and also, in some way, hear me. And so if the listener is able to identify with my honesty then I'm being the most helpful I can possibly be.
He is a legend and he's going to be remembered for a long time. Just to play alongside him and learn from him has been an absolute pleasure. I think he is a footballer's footballer; he has been at this level for so long. As long as he is part of us we always feel we have a chance. We appreciate the way he goes about his business. I have never met a character like Scholesy, certainly not someone who is that good.
Making the extra effort to say thanks in a genuine, personal manner goes a long way. It is pleasurable to do, and it encourages more of the same good behavior.
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