A Quote by Brian Wilson

I get off on hearing other people's voices. I like voices: they're my favourite things on records. — © Brian Wilson
I get off on hearing other people's voices. I like voices: they're my favourite things on records.
Often, particularly with voices, you're hearing horrible things, demon voices, and voices telling them that they're not worth it or that they're going to kill somebody. In those moments, they're overcoming things.
We cannot silence the voices that we do not like hearing. We can, however, do everything in our power to make certain that other voices are heard.
There's a lot of magic in voices. I love voices that are very old, very gravelly, very deep. I like metallic voices; I like velvety voices. The voices of children.
For its part, Government will listen. We will strive to listen in new ways - to the voices of quiet anguish, to voices that speak without words, the voices of the heart, to the injured voices, and the anxious voices, and the voices that have despaired of being heard.
Schizophrenia is hearing voices, not doing voices.
Unfortunately, you've grown up hearing voices that incessantly warn of government as nothing more than some separate, sinister entity that's at the root of all our problems. Some of these same voices also do their best to gum up the works. They'll warn that tyranny is always lurking just around the corner. You should reject these voices.
In a thousand voices singing the Hallelujah Chorus in Handel's "Messiah," it is possible to distinguish the leading voices, but the differences of training and cultivation between them and the voices in the chorus, are lost in the unity of purpose and in the fact that they are all human voices lifted by a high motive.
In this age of censorship, I mourn the loss of books that will never be written, I mourn the voices that will be silenced-writers' voices, teachers' voices, students' voices-and all because of fear.
Little Axe's records are wracked with collective grief. Spectral harmonicas resemble howling wolves; echoes linger like wounds that will never heal; the voices of the living harmonise with the voices of the dead in songs thick with reproach, recrimination and the hunger for redemption.
It's 2015. And I just want to get to the point where we're hearing female voices as much as we're hearing men's.
I now understand what Nelle Morton meant when she said that one of the great tasks in our time is to "hear people to speech." Behind their fearful silence, our students want to find their voices, speak their voices, have their voices heard. A good teacher is one who can listen to those voices even before they are spoken-so that someday they can speak with truth and confidence.
Particularly in television, we can stereotype ourselves. You realize that we all have a lot of voices in our head. We have angry voices, we have voices of doubt, and we have moments of strength.
Such times of crisis have inevitably brought 'music of conscience' to the fore and I expect we will be hearing more and more of it in the immediate future. When people feel empowered to come together and raise their voices, also will mean raising their voices in song as well.
I had a moment where I realised I could do silly voices, that lots of people I knew couldn't do silly voices, and that thus I must be able to make money doing silly voices.
I don't like to read contemporary fiction while writing - I need a sense of isolation, a kind of silence, and I don't want a jumble of other people's voices or visions getting in my way. Nineteenth-century voices don't create static in that silence.
What's needed in this case is conscious and serious practice in hearing, and using, and being used by, other people's voices.
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