Quotes About Connection

Mum and I have always been close. Her adoptive parents died when she was 18, and she doesn't have any other kids, so I'm her only family. She lives life to the full, and I envy her vitality. She has pink hair and is a younger spirit than me.

Abortions can be, and frequently are, traumatizing, as are other invasive surgeries performed to the sexual and internal organs. All or any of these 'violations' can cause loss of vitality, diminished capacity for erotic connection and pleasure, and other symptoms of trauma.

I find that through all my work, I really get to see and feel energy, health and vitality between people and their surroundings and how they interact with each other.

We need better neighbors, neighbors that care about the schools in their neighborhood whether they have kids in them or not, because they know that the health and vitality of that neighborhood depends on it.

We should realize in a vivid and revolutionary sense that we are not in our bodies but our bodies are in us.

In some sense, prose fiction is just a way of unlocking a space. If I can unlock the space, it comes out and it's vivid, I find that I care about it, and it's part of me.

I've got kids now and they will constantly pull you into the here and now - they are very present and very vivid.

The strongest influences in my life and my work are always whomever I love. Whomever I love and am with most of the time, or whomever I remember most vividly. I think that's true of everyone, don't you?

We need leaders who are able to vividly remember how it feels to experience hardship, trauma and pain, who make us feel less alone.

I remember very vividly what it's like to be a child. The adults you liked were the ones who listened to you when you spoke and gave you time to say what you wanted to say and actually listened, and quite often reacted as a result of what you'd said.

The vocabulary I use has to reflect the people I'm trying to communicate with.

We're looking to help our guitar buddies do their thing while at the same time we try to create something we might enjoy listening to ourselves. If anything we are trying to develop a vocabulary so we can converse more fluidly.

The larger your audience, the smaller your vocabulary and range of referents - the fewer your means of expression. You can't rely on the luxury of intimacy.

When I'm doing a one-on-one with somebody, I have to speak in a language that that person can understand, using a vocabulary that they instantly get, and I always have to feel my way around to figure that out. It's a lot of fun, and it's also really challenging - challenging in a different way from performing.

True prayer is neither a mere mental exercise nor a vocal performance. It is far deeper than that - it is spiritual transaction with the Creator of Heaven and Earth.

When I listen to a song, I don't say, 'Oh my gosh, that vocal line she sang was the best thing I ever heard.' I'm thinking, 'That lyric just moves me. That lyric just said what I feel better than I could say it myself.'

I have a cultural map in my head, where I find similarities between different cultures. For example, domestic Japanese pop music sounds like Arabic music to me - the vocal intonations and vibrato - and, in my mind, Bali is next to New York. Maybe everyone has these geographies in their head. This is the way I've been working.

I've always cared about my teammates, but it's about being vocal and letting them know I care about them... not just on the basketball court.

The language of literature is the language of all the world. It is necessary to divest ourselves at once of the notion of diversified vocal and grammatical speech which constitutes the various tongues of the Earth, and conceals the identity of image and logic in the minds of all men.

I wouldn't say I worked with these people because I was looking for a particular vocal sound. I worked with them because I loved what they had done before-and because they really wanted to work with me.

Just with the basic one guitar, one piano and one vocal and an audience, I think that the intimacy comes through more. People feel much more connected to the song because there's nothing in the way, and I actually enjoy doing that.

When you are in the studio, you don't have anybody to feed off of; meanwhile, when you are playing live, you interact with people and you feel the energy in the room. When the crowd is going crazy, that definitely impacts your vocal performance. I prefer to sing live.

Vocal rest is awesome. It is like any kind of fast. Firstly, it is a purification of speech. It made me realize how not careful I am with the things I say. It also makes you find new ways of communication and new methods to connect with people.

When I sing, I go somewhere else. Every time after I sing, I'll ask, 'Did I do OK?' Because I feel like it's like my soul squeezing out of my vocal chords. I don't sit there and think about 'I'm gonna do this next...' I just sing. I sing from my heart, and my heart's got a little lonesome in it.