If it's something that I feel uncomfortable with, that's a reason for me to write it. I kind of like to make myself feel uncomfortable. I think if you're starting to feel uncomfortable with something when you're writing it, that's the reason really to push on with it.
Prosthetics just felt very foreign to me: You wear them on your shoulders, strap them to your chest, and they're heavy and uncomfortable. If someone gave you a hug, you'd miss that touch. They were more like a cage for me.
The moment we become uncomfortable is the time we should confess.
If your compliments are making women feel uncomfortable, scared, anxious, annoyed or harassed, you're probably not doing them right.
It doesn't upset me when people are annoyed or bothered by what may seem to them as a redundancy of topics about blacks and Latinos. As a reporter I welcome those types of conversations and dialogues. Even when it's uncomfortable, it's still necessary.
I'm uncomfortable with being famous. I hate it. But I love making music. I love getting paid to do it, and I love getting on my boat after I get paid to do it.
Being famous is uncomfortable because I grew up very simply. Everything revolved around friends, family, church and sports.
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
[The Women's Room] was the first thing I read that explained a lot of the feelings I was having and a lot of the rage and the feeling uncomfortable in my body and knowing that I was feeling a certain way in the world, but I didn't have the language for it.
I have always thought limousines make me dreadfully uncomfortable, just the way that suits do. When I wear a suit, I feel like ants and termites are crawling all over my body. It's really, really uncomfortable. People put themselves in a kind of prison. It's like the world of the embassies.
I had a period in my life, maybe a decade or so, in which I was involved in that kind of thing, associating with the elite of various segments of society. It always made me extremely uncomfortable. I couldn't wait to get out of there and change my clothes. The good part about that was getting home and changing into my regular clothes. Taking off the suit and the tie, taking off the tight shoes, and just relaxing. Being away from that stuff. It was stimulating, but I never liked it. I always felt it was a terrible, terrible burden.
I've always done music to push people to get them to get uncomfortable in their seat so they could wrestle with things. Not to become pew potatoes, just simply sitting there, growing fat with knowledge and not applying it. It's a mixed tape that's really aimed and geared toward hip hop culture.
I try not to cry, in general. The experience of crying is so emotional and uncomfortable for me that I don't like to go there.
People are very uncomfortable when you call actors artists because there are a lot of actors out there that aren't artists - there are a lot of actors that are hired for very specific reasons that are shallow and have to do with sexual currency and what the industry thinks sells. Real actors are artists, they're expressionists.
No matter what I do, all people talk about is production design, whether it's not good enough or it is good enough. And I'm thinking: This is because my content makes people uncomfortable. It's a way for people to not talk about the content.
I have argued tirelessly, nearly endlessly, in so many books, about the need for the social, the economic reconstruction of society. The demand that people be present themselves, that they contribute to the reorganization of society, that they own up to their own complicity in a system from which they derive benefit and advantage, often without acknowledgement, and the discomfort, the uncomfortable way in which that must be acknowledged.
I feel really uncomfortable writing about Sudan when I'm not there. It always looks different. When you're outside Sudan it's easy to lose sight of how much of what happens is driven by local politics. And when you're in America in particular, there's this sense that what D.C. has to say is the only thing that counts.
It's definitely hard for me watching myself on screen, it's very uncomfortable, but it's just like anything - the more you do it, the more you get used to it. When I first got out I was like, I can't look at all, it makes me sick to my stomach.
I felt like a fake the whole time and it made me very, very nervous - which is why I have such great respect for actors, because I can't do what they do. I really can't do it. I'm always uncomfortable. And I'm just grateful that I recognized that this uncomfortable-ness was a sign that I shouldn't be doing it. More than not having any talent - which is clearly obvious - more than not having any talent, it was so uncomfortable and I was so insecure. And I was so frightened. And the thought of being somebody other than myself was impossible for me.
Art is not always meant to be decorative or soothing, in fact, it can create uncomfortable conversations and stimulate uncomfortable emotions.
To really talk about African story, and teach this story, you have to teach that tribes were actually nations. You have to teach that chiefs were actually kings, with kingdoms. You have to teach that there was a structure that worked in Africa prior to colonialism. You have to teach that countries were colonized that were doing fine by themselves. And that's uncomfortable.
Your average white liberal might agree with social justice in principle, and yet live quite comfortably as a "winner" in a nation whose social institutions - characterized by political exclusion, exploitation, and unequal access to resources - have systematically made others lose out. But here's the thing. Maybe it's time to get uncomfortable and upset. Maybe those feelings can be acted upon.
This message in me has been like, you know, "Every day, Lord, teach me to say, 'Here I am, send me.'" No matter how uncomfortable it is, no matter how awkward it could be," no matter - I don't want to put his will through my sieve, you know, through my lens. I just want His will.
I am certainly not proposing that we wait passively for the people in power to change their minds. I think we need to be confrontational, to expose the truth in ways that are uncomfortable and that, yes, require courage. What I caution against is using hateful rhetoric to inspire action, and I see a lot of that today. We strengthen the underlying field of hatred, dehumanization, and conquest. It certainly doesn't engage what allows people to do courageous things and to commit deeply, which is the experience of beauty, love, grief.
I struggle to try not to read the press about my album. It was great when the first stuff came out to hear that people liked it, but at the same time at this point it's almost hard for me to read because as much as I'm uncomfortable with my voice, trust me, I'm more uncomfortable with the things I say. [laughs] To see it on a written page, it's like, "Oh my god. I told that guy I'm a hopeless romantic! What am I doing?"
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