A stable and nurturing childhood is essential for the healthy psycho-emotional and spiritual development of a human being. While we may understand what is supposed to happen to us physically, we must begin to better understand what happens to children mentally, emotionally and spiritually as a result of the families into which they are born.
It seemed like so much of romantic relationships today have to do when the people are not in the same room. Whether it's texting or emailing or Facebooking, there's a kind of distance between the participants. I think it's sort of shifted the energy of that first romantic meeting, where it's quicker, perhaps more desperate, more energetic, in a whole different way, and it's resulted in a situation where people seem to be sometimes more comfortable having a sexual relationship than an emotional one.
I was going through some emotional turmoil. You can tell by the tunes on the album that I was going through a break-up of my marriage. It was the only way I could express myself.
It is quite clear that as long as the nations of the world spend most of their energy, money, and emotional strength in quarreling with words and weapons, a true offensive against the common problems that threaten human survival is not very likely. A world government that can channel human efforts in the direction of the great solutions seems desirable, even essential. Naturally, such a world government should be a federal one, with regional and local autonomy safeguarded and with cultural diversity promoted.
For me words still possess their primitive, mystical, incantatory powers. I am inclined to use them as part of an attempt to make my own reality more real for others, as part of an effort to transcend emotional danger. For me, words are a form of action, capable of influencing change. Their articulation represents a complete, lived experience.
It seems nobody really talks about what we do with our emotional pain. Only the ascendant perhaps, who have learned how to fully meditate or do yoga or whatever through their emotional pain.
I do all the things that singer-songwriters do. I introduce the songs, I have a story to tell about everything all the time - I cannot be on stage and have something on my mind without telling the audience. I'm super emotional and expressive and vulnerable in that moment.
Quite often I play roles that require quite a degree of emotional exposure, and they can be very difficult to do.
Rebecca Goldstein is a rare find among contemporary novelists: she has intellectual muscle as well as a tender emotional reach.
I'm still trying to find the perfect Nirvana song that's an example of that, but you do hear a lot of their songs start with an extremely emotional death grunts.
I don't think there's much point in putting me a deep, dark, heavy, emotional film because there are people who do it so much better than I do.
The rules of engagement around building a brand have changed significantly over the past 10 to 15 years. Where companies at one time could spread their message through traditional marketing, consumers now seek an enduring emotional connection with the companies they patronize. The foundation of that connection is the most important characteristic of building a world-class brand: trust. Trust with your people and trust with your customers.
My music is very emotional. The reason why I want to play music is very emotional. I want to call out my emotions and package them into music.
I love museums, but I always thought there was something funny about a group of strangers silently staring at works of inanimate objects together. Each person is having a very personal and maybe even emotional experience, but it's in the confines of an extremely quiet and sterile room.
I’ve taken on some of the emotional weight of the stories I’ve worked on. I was writing about a very difficult time in the life of one of my clients and I burst into tears at a small, crowded café... I’m not a crier at all in my own life. Maybe that’s why I’m a ghostwriter.
I play damaged people a lot. I'm a Cancer. And I say that tongue and cheek, but I wear my heart on my sleeve. I'm a very emotional woman.
When I reflect that the task which the artist implicitly sets himself is to overthrow existing values, to make of the chaos about him an order which is his own, to sow strife and ferment so that by the emotional release those who are dead may be restored to life, then it is that I run with joy to the great and imperfect ones, their confusion nourishes me, their stuttering is like divine music to my ears.
Confronting the intolerable should be challenging and upsetting. Who could read the testimonies of Primo Levi and not feel intellectually and emotionally exhausted? Or Martin Luther King Jr.'s words, not to mention those of Malcolm X? It is the conditions that produce violence that should upset us ethically and prompt us to act responsibly, rather than to capitulate to a privatized emotional response that substitutes a therapeutic language for a political and worldly one.
At the end of the day, most people really only want a minivan for a certain part of their lives, when they're forced to have it because they have a lot of kids they've got to carry around or whatever, so I still think that the emotional connection with the car is very important.
I was devastated. I'm still devastated to this day. When talent like that disappears in a flash, you can't believe it. You deny it. Max Roach, who, of course, played with him on all those EmArcy recordings, held a concert in Baltimore for Clifford long after Clifford died. Max was still disbelieving so many years later. The concert was supposed to bring closure. But Max was so outrageously emotional that day. He had quite a few eruptions and was very emotional about what had happened so many years earlier. Like everyone, he remained disbelieving.
There's no way, of course, to fully understand what an illness does to someone or what emotional state or physical state it puts you in, but to show respect, yeah, definitely I've had a chance to talk to many people that - it wasn't really a specific illness that quote-unquote, I researched, and as I said, if I was a good actor I would have done that. But you know, I just wanted to pay respect without putting too much into it.
There were really funny characteristics about this guy [Richard Nixon], chief of which would be that he seemed to devote about 85 percent of his waking energy to suppressing any sign of his emotional response to anything that was going on around him, and the other 15 percent blurting out those authentic responses in the silliest and most inopportune ways. And he had these smiles that would come at the most inappropriate times - just flashes that there was an inner life screaming to get out.
I prefer to be part of a positive statement. I'm not interested in the psyche of a serial killer. What I'm interested in is creating a situation in which people get some emotional exercise, which makes them feel like human beings and makes them understand that they are part of the human community with all its responsibilities.
What I found was an emotional consistency with him. The words, the scenes, the situations - I wasn't mimicking what I thought Branch Rickey's emotional reality would have been.
Management must have a purpose, a dedication and that dedication must have an emotional commitment. It must be built in as a vital part of the personality of anyone who truly is a manager.
