In my mind of course natural disaster like tsunami, and these things, also I think indirectly may relate to human behavior. But then major sort of problems actually they're due to a lack of moral principle.
Anyone can relate to suffering in this world.
Losing someone we love, or the fear of losing someone we love one day is a difficult experience and we can all relate to it. None of us are an exception to this reality.
The body is born. Birth and death only have to do with the body. Ego also relates only to the body. Similarly, reincarnation relates only to the body. Do not think of the body. Think of the Atma. The Atma is one; it is unchanging. For Atma there is no incarnation, there is no reincarnation.
I think that the drama of people rising up demanding their own freedom is one that resonates very deeply with America. I think that President Barack Obama has tried and would like to find a way to relate to the Arab Spring, but I think he also wants to be, rightly, very careful that we don't take it over. It is very important that they own this. He is trying to influence it this way but without, "We're so never going to go to the extreme of Iraq and putting boots on the ground again."
People are good people. If they know what's going on, and they can relate to it, they can be moved to do something. If they can never see it or never relate to it, they continue to stay disconnected.
Fear was my main emotion until I started taking anti-depressant medication. And I was one of the people where, as I got older, the fear got worse and worse. So I can really relate to an animal getting, you know, scared and traumatized.
All over the world today people have a very strong desire to find a sense of identity, and at the same time that's coupled with the rise of absolutely absurd wars that relate to ethnic identity. Perhaps there is something deeply ingrained in people that relates to a sense of belonging, and without that, identity doesn't seem as real as it should.
Sex and Love are two words that anyone can relate to, no matter the nationality or age.
The two teachers that I had in the Art Institute who affected me the most were Kathleen Blackshear and Robert von Neumann; Kathleen Blackshear because she taught a class called design - I can't remember, design something, and in this class - it met once a week - we would do work centered around some theme, word or subject or technique or whatever, and bring it in for a three-hour discussion. And Kathleen was able, in watching and looking at our work, to direct us to all kinds of things which might relate to what we were trying to do, but she never attempted to tell us what to do.
If you take Lucie Rie and Hans Coper, their work didn't even relate to what we were trying to do, because they were moving in a different direction, both of them coming out of Europe and the Viennese school of design, which Lucie came from, and Coper learning from Lucie and then springing off on his own when she encouraged him to explore more widely. So he created his own work instead of just working for her and doing her forms. So that was a wonderful thing.
I like the way [Marcus Lemonis] thinks. He's made me think about things in a different way. He's made me want to support small businesses in a very real way, seeing what these small-business owners go through and the struggle it is and the courage it takes to put your heart and money behind things at a 24-hour job. I think I relate to that as an actress and a writer and someone who works freelance, in many ways. It never ends, you never clock out. You've always got to keep things moving.
I feel like pain is the quickest way to relate to someone because everybody has been through that and everybody has had a heartbreak.
I think that every educator, indeed every human being, is concerned with what is true and what is not; what experiences to cherish and which ones to avoid; and how best to relate to other human beings. We differ in how conscious we are of these questions; how reflective we are about our own stances; whether we are aware of how these human virtues are threatened by critiques (philosophical, cultural) and by technologies (chiefly the digital media). A good educator should help us all to navigate our way in this tangled web of virtues.
I like to talk about my challenges as they relate to all of us, and I try to leave them with a sense of what it feels like to succeed at something and to arrive at a goal. I talk a lot about finding that thing that you feel is important to you, that's your calling, and about the reward you will get from staying with it, no matter what the challenges are.
This might be a controversial thing to suggest, but in a quest to understand and relate to terrorism or school shootings, sometimes it feels like it's real, the appeal. As we've seen with ISIS, it's not always the devout who are getting into it; it's just people looking for a sense of belonging. The more they feel they're up against, the more intensity the cause has. It's an epic clash of cultures, and both sides are playing that up, but it's human beings disaffected, detached, and lonely.
I find it very difficult to relate to India's new middle class. This very patriotic and neoliberal group that mixes religion and economics together. I find them very irksome. Very difficult to like. They are privileged, but they don't want to talk about their privilege. It's difficult to find poetry amongst these people. Some sort of hidden spirit of beauty.
If you're a musician, you create what you love and hope other people love it as well. Amongst musicians, the starting point is what they love, and then they bring people to them. As a comedian, you have to say something that people relate to, or nobody laughs. As an actor, you have to perform the character in the way that people relate to.
I consider my work non-objective and I think abstract is an abstraction of something, like a landscape. Abstraction means something is abstracted. It relates to something. Non-objective relates to nothing. It has no object.
I'm not really a person who loves things that are surreal or not grounded in real life or reality. I like that - I want to find something that I can relate to and then maybe do a little bit more and embellish.
Ultimately, we as a band just write what we write. Some of it's very serious, and even in the serious songs, there's sometimes an angle of levity. I think that's just how we communicate naturally and to shy away from that would be, first of all, boring for me, but also it wouldn't ring true to who I am or the way I relate to people or the way we relate to people as a band or the way we relate to the audience. Humor is a big part of it, but we also take our craft very seriously.
Religion helps you relate with the universe. Buddha was indifferent to the concept of god yet he gave us values.
I just love to play characters that are layered and that I can relate to in some way, even if they're completely different than me; that I can see a glimpse of humanity and something I'm interested in exploring.
I think my first hit was the first song I ever wrote. I actually wrote it in 2005 in college. The title of it is called "Ain't Ready”. It's just talkin about the relationship with a man and a woman, or even a woman and a woman; however you wanna look at it, and just that feeling of feeling like you're not ready for love and the other person is pushing for something that you don't want. I think that's something that a lot of people can relate to.
That's always been the process of our music, in a sense, keeping it simple, not being so heavy that you are beating people over the head, it's just weighted down and it's like, "oohhh I can't relate." People are able to relate because we talked about things that everyone has experienced, it doesn't matter your race or genre. Music was your mainstay. There was something in our element of music that connected.
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