Sara Bareilles Quotes

Say what you wanna say and let the words fall out honestly.

Jump start my kaleidoscope heart, Love to watch the colors fade, They may not make sense, But they sure as hell made me.

True bravery is being exactly who you are, imperfections included. Vulnerability is the most precious gift you can give.

At the end of the day, the only thing I ever wanted to feel was loved. So I think if I could give someone a piece of advice, it's really learn how to be kind to yourself. In all of our ugliness and all of our brokenness and our bad choices, to really learn to nurture that part of yourself that can be your own big sister in a way.

Show me how big your brave is.

Late night writing is also good, too, but in New York, you've got neighbors. I try to be a good neighbor.

Love is blind, but when we close our eyes, we see with our hearts.

I'm happy to be working with all women.

My hairstylist taught me a trick for my hair. You section off your hair and put them up in these crazy little knots and then it looks like you curled your hair. It's saved me so much time 'cause on the road you don't have time or plugs to plug your curling iron in.

I work a lot with men, and I work with wonderful men that I absolutely adore, but it's something that I'm now paying attention to - to seek out and make room for the talented women in all the technical fields and creative fields across the board.

Just speak your truth, it's an important cornerstone of how your life ends up sort of unfolding in front of you. Even if it's painful, if it's honest, it's going to bring you to the place you deserve to be.

Compare where you are to where you want to be, and you'll get nowhere

It'd be a shame to stop now that I've started to make really good mistakes

If you take your fear and mash it into something that's actually useful, then it doesn't feel like it wins.

The struggle is to stay present enough when you're taking your next step forward that you're really making your most honest choices.

I'm that person who owns all of the seasons on DVDs, including the Lifetime intimate portraits showcasing The Golden Girls. I am a massive fan. I think I'm Dorothy. She's my favorite.

I would never intentionally want to hurt someone's feelings.

I'm never gonna be somebody who's gonna fall down from the sky on a trapeze. That's not me. I really want to make sure that my focus stays on connecting with the audience.

So how do you do it, with just words and just music, capture the feeling that my Earth is somebody's ceiling?

When I look back, I was so mean to myself, and I was so uncomfortable in my own skin. I still feel that very loudly sometimes, but to try and really nurture that sense that you are your own friend.

It's very exciting to be a part of a team of collaborators in general.

I have been very fortunate to be a part of tours with other artists that have exposed me to new places that I've never been before. Once you discover something beautiful, you just want to keep coming back.

I know that I'm very susceptible to getting caught up in storylines like, "I want him to be different. I want him to be more open. I want him to call." We have all of these storylines that kind of take over sometimes, and I think there's real grace and a peaceful heart at the center of just accepting what is, and knowing that everything's OK. The good, the bad, the ugly, the pain, the hurt, the frustration - all of that is valuable and part of this human experience, so we should lean in to all of it.

I do a lot of reading on Buddhist philosophy, and a Buddhist nun named Pema Chödrön talks a lot about acceptance. It's one of the main tenets of Buddhism - accepting that what is, is. The root of our suffering is when we just don't want to accept a truth. We want something to be different than it is.

I feel like I'm on the precipice - just seeing a better version of me coming out.

You can be the outcast or be the backlash of somebody's lack of love. Or you can start speaking up.

I'm somebody who grew up listening to a lot of musical theater, so getting to finally write musical theater songs and songs that sound that way - the emphasis being on the storytelling, but the arrangements and the orchestrations can be really varied - I found that to be, actually, a really joyful discovery.

I think it's one of those things about live performance - anything goes, anything can happen, and you have to just be ready and able to roll with the punches.

I certainly have dreams of being on a Broadway stage someday, if they'll have me. I think I want to stay really open to whatever possibilities present themselves.

Music is catharsis for me.

I like seeing someone that can sing jazz and then flip over and sing a pop song and then sing a rock song.

I never wanted anything so much than to drown in your love and not feel your rain.

I would like to look back on my body of work and be proud of each record in its own right, but as a whole, I want to continue to grow and move forward.

I'd like to think I could physically manage doing that, but I don't think it feels authentic to the kind of performer that I am. I think that, for me, being stationary and just sort of singing the songs seems to be the most connected and authentic expression for me on stage.

My dance move has seemingly turned into push-ups. Sometimes, especially if I've indulged a little bit in an evening, it's not out of the ordinary to find me, for some reason, doing push-ups. That seems to be my go-to dance move.

I've dabbled in running around on stage, and at certain times it's nice to step away from the anchor of the piano and use a handheld microphone and connect with the audience, but I think my soul as a performer is just a little bit more connected to the instrument. To just sort of sit and sing - that feels like the most natural fit for me.

The theater community at large, I have to say, has just been so warm and so welcoming, and that's not something I'm as used to.

I have a tendency when I feel myself getting stuck, my impulse is to go to my cupboard and find chips to eat.

I think we're at a really rich and fertile time in the zeitgeist about paying attention to diversity of all kinds - racial diversity, gender diversity, making room for a continuum that is more inclusive.

My proudest moment of my career was opening night in Cambridge and watching the cast take their curtain call. No one was looking at me, and I was floating off the ground. It was just euphoric.

I think that's my hope for a lot of the feminist movement is that the gender thing sort of stops being the selling point, if that makes any sense. We're just people making art, and that's how this process has felt to me.

There are so many wonderful classic roles, but I also would be really interested in developing something brand new. I think my heart would probably be in developing something brand new; I think that sounds really exciting.

I can very much relate to waking up inside of your life and saying to yourself, "How did I get here?"

Never say never - I certainly have those dreams, and I hope that it happens at some point,I hope I get to see those stage lights.

I don't like karaoke very much. I like being around it, but I don't like singing it. If I had to sing a karaoke song, it's usually "Son of a Preacher Man" by Dusty Springfield.

If I get frustrated, the first thing I'll do is get up from the piano - completely mindlessly - and walk over to the cupboard and pull out something salty to eat.

I feel like my songs are like diary entries for me. So I usually write about things that have happened to me specifically or sometimes it can be someone who's close to me.

I was a fat girl growing up and had to change schools because kids were so mean.

I'm of the ilk of writers that feels you have to be open to the inspiration.

Nobody ever thinks a song is about them. Well, not when it's mean. When it's a good song everybody thinks it's about them. And when it's mean, nobody thinks it's about them.