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"But I like to listen to demos. I like to hear the finished product. It's like listening to a song - I mean, a story. If you're going to sit here and tell me a story, I just like to listen. I don't want to make them up."
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"To Become an Attentive Listener . . . Observe a person's physical presence to see how their body language aligns with their message. Recognize what is being said on the surface. Engage your intuition to hear the meaning, purpose, and motivation behind their message. Be aware of your own internal responses and how you are feeling. Put yourself in their shoes to better understand their perspective."

"How do you know when to advance the conversation or when there's something still unresolved? When you are situationally aware, you watch the body language and notice the cues that are given to you. Listening and observing are being mindful in the best sense of the word."

"You can have the perfect message, but it may fall on deaf ears when the listener is not prepared or open to listening.These listening "planes" were first introduced by the American composer Aaron Copland (1900-1990) as they pertain to music . . . 1. The Sensual Plane: You're aware of the music, but not engaged enough to have an opinion or judge it.2. The Expressive Plane: You become more engaged by paying attention, finding meaning beyond the music, and noticing how it makes you feel.3. The Musical Plane: You listen to the music with complete presence, noticing the musical elements of melody, harmony, pitch, tempo, rhythm, and form."

"How often have I noticed or, indeed, listened to him? We talk, but do I actually listen, or is our conversation mainly a question of my waiting for him to stop and for it to be my turn to say something? For how many of us is that what conversation means - the setting up of our lines?"

"During a conversation, listening is as powerful as loving."

"It is a tremendous gift to simply and truly listen to another."

"While others are broadcasting be listening."
Explore more quotes by Reba McEntire

"And so we were asleep there in San Diego. And our pilot called us. And his brother was on one of the other planes. And when he was leaving the airport, he saw in his rear view mirror that there was an explosion."

"When onstage, I always try to take my audience through as many emotions as I possibly can. I want them to go from laughter to tears, be shocked and surprised and walk out the door with a renewed sense of themselves - and maybe a smile."

"So, I think it has to do with the product and what you take to the public. If they like it, they're going to come see you, and if they don't, and if you're kind of getting out of the trendy line of things, then they won't come see you."

"I was singing a lot of waltzes. And I was with Jerry Kennedy, my producer, and he was playing me some songs, and he said, hey, I want to play you this song that I'm going to get Jackie Ward to record."

"And the two planes that were taking the band and crew that we had taken out to San Diego were flying out after the show. And so I was never supposed to be on that plane."

"So, we come out to Los Angeles. And we met with every network. We met with show runners, directors, writers, everything. And what we had an idea for, they didn't like. And what they had an idea for, we didn't like. So, we went home."

"At this time when I turn 50, because so there's many of my friends and family who didn't get to see 50-years-old, and so, I'm celebrating for them too."

"Never have doubted it, even when the plane crash happened. I wasn't mad at God. I just knew that there was a reason that I didn't know about why it happened."

"I think they want to keep it separate, but I've never been a crossover artist for some reason."

"To me, there's two types of songs, good and bad. And I just like to stick with the good ones."
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