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You can connect with someone through poetry.

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What I know now is that we're all interconnected and that's a really beautiful thing. We have links to everyone else in our lives and in the world. Different people have different journeys for different reasons. You can't judge, but you can celebrate that there are connections everywhere. - Jane Seymour

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*6 - Did you Know Having a A Personal Connection Increases Reading Comprehension

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*6 - Did you Know Having a A Personal Connection Increases Reading Comprehension

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I was reading a book about a family who had a large yellow parrot that could mimic any sound or voice. This made me recall my job during college. I was working in a resort-area gift shop that had a parrot near my checkout counter. Reading this book and the tales of how the bird picked up the family voices reminded me of how, when a customer walked through the door and the chimes jingled, the parrot would sing out, "Hello, how are you?"-in my voice. This was a powerful text-to-self connection; I had the prior knowledge to identify with the family and the ups and downs of having a talented mimic nearby!

Facts in isolation make very little sense. Random concepts with no rhyme or reason rarely stick in a student's mind. But when young people read books that connect to personal experiences, other books they've read, or something going on in the world, the material in those books makes more sense. Reading comprehension, that valuable "I get it!" understanding, reaches a higher level when there's a connection or a link.

These links come in three types: text to self, text to text, and text to world. To form a text-to-self connection, readers notice that a book or other text reminds them of something from their own lives. A strong personal connection increases reading comprehension by strengthening the pathways in the brain to help remember the material.

Text-to-text connections, sometimes referred to as book-to-book, occur when something in the text reminds the reader of something else read previously. My intermediate-grade reading group had just read an article about carnivorous flowers, and a student interjected, "Fudge wouldn't eat these!" Random? Not at all. In Judy Blume's Tales of a Fourth Grade Nothing, the book we'd just finished, a main character (Fudge, age 2) had driven his mother to tears by eating flowers in the arrangement she'd prepared for a formal dinner party with important guests. This student made a text-to-text connection that activated her sense of humor as well.

Poems, with their short length and exquisite word choice, offer unique connections as well. A second grade teacher I knew had a little trouble convincing her students that the moon was not made of green cheese. Instead of pushing the science content to the point of frustration, she took another tack. She introduced the poem "The Moon Is the North Wind's Cooky" by Vachel Lindsay. The patient teacher was able to guide her young readers through the metaphor in the poem, move them to the reality (the phases of the moon), and then remind them that the green cheese theory was also kind of fun but was just another metaphor.

The final and most advanced form of connection, text to world, requires a connection beyond the personal. Connecting the broader world with the material sends reading comprehension soaring and makes memory firmer. A high school student might realize that the composer she just learned about in music class reminds her of an artist she read about in art history, leading her to wonder how the two were related. This student might go on and consider what else was happening in the world at that time that led to changes and developments in the worlds of art and music.

Try using sentence starters like these to encourage a reader to think beyond the covers of the book or the screen of the e-reader:

What I just read reminds me of this thing that happened in history because ...

What I just read reminds me of what's going on in the world now because ...

I can identify with that. I remember when ...

When your young readers learn that reading doesn't happen in isolation, they begin to do what all good readers do: make connections between the material and themselves, other texts, and even the world.

How have you modeled the strategy of forming connections? Are there other reading comprehension strategies that you've used? Share in the comments.
This article was originally published on the Connections Academy Blog, and was reposted here with permission.
About the Author

Tracy Ostwald-Kowald graduated from Lawrence University, a small liberal arts school in Wisconsin, with a Bachelor of Music degree. She returned to school at University of Wisconsin - Green Bay to earn her elementary teaching license, followed by a Master of Education degree in curriculum and instruction from Lesley University, Cambridge, Massachusetts.

Tracy, better known as Mrs. O.K., enjoys bringing the arts into her teaching whenever possible. Due to a progressive hearing loss, she no longer teaches private music lessons or judges festivals but is excited to be part of Juilliard eLearning-a new online music course program powered by Connections Education. Teaching at a virtual school offers her the opportunity to continue applying her teaching skills and experience while channeling her own inner computer geek.

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Tracy Ostwald-Kowald, Virtual School Teacher, Connections Education

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I was reading a book about a family who had a large yellow parrot that could mimic any sound or voice. This made me recall my job during college. I was working in a resort-area gift shop that had a parrot near my checkout counter.

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"...social nature is key to our humanity."

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The Social Synapse: Neuroscience and the Roots of Human Connections | World Science Festival

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Humans work together on enormous scales to build complex tools as large as cities and create social networks that span the globe. What is the key to our success? This ...

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When we experience social pain - a snub, a cruel word - the feeling is as real as physical pain. That finding is among those in a new book, , and it is part of scientist Matthew Lieberman's case that our need to connect is as fundamental as our need for food and water. He answered questions from Mind Matters editor Gareth Cook.

You argue that our need to connect socially is "powerful." But just how powerful is it?

Different cultures have different beliefs about how important social connection and interdependence are to our lives. In the West, we like to think of ourselves as relatively immune to sway of those around us while we each pursue our personal destiny. But I think this is a story we like to tell ourselves rather than what really happens.

Across many studies of mammals, from the smallest rodents all the way to us humans, the data suggests that we are profoundly shaped by our social environment and that we suffer greatly when our social bonds are threatened or severed. When this happens in childhood it can lead to long-term health and educational problems. We may not like the fact that we are wired such that our well-being depends on our connections with others, but the facts are the facts.

What is the connection between physical pain and social pain? Why is this insight important?

Languages around the world use pain language to express social pain ("she broke my heart", "he hurt my feelings"), but this could have all just have been a metaphor. As it turns out it is more than a metaphor - social pain is real pain.

With respect to understanding human nature, I think this finding is pretty significant. The things that cause us to feel pain are things that are evolutionary recognized as threats to our survival and the existence of social pain is a sign that evolution has treated social connection like a necessity, not a luxury. It also alters our motivational landscape. We tend to assume that people's behavior is narrowly self-interested, focused on getting more material benefits for themselves and avoiding physical threats and the exertion of effort. But because of how social pain and pleasure are wired into our operating system, these are motivational ends in and of themselves. We don't focus on being connected solely in order to extract money and other resources from people - being connected needs no ulterior motive.

This has major consequences for how we think about structuring our organizations and institutions. At businesses worldwide, pay for performance is just about the only incentive used to motivate employees. However, praise and an environment free from social threats are also powerful motivators. Because social pain and pleasure haven't been a part of our theory of "who we are" we tend not to use these social motivators as much as we could.

You devote a section of your book to what you call "mindreading." What do you mean by this, and why do you see it as so essential?

First off, I'm not referring to the ESP kind of mindreading. I mean the everyday variety that each of us use in most social interactions. We have a profound proclivity towards trying to understand the thoughts and feelings bouncing around inside the skulls of people we interact with, characters on television, and even animated shapes moving around a computer screen. Although we are far from perfect at gleaning the actual mental states of others, the fact that we can do this at all gives us an unparalleled ability to cooperate and collaborate with others - using their goals to help drive our own behavior.

The funny thing is that thinking about others' thoughts doesn't feel particularly different from most kinds of analytical thinking we do. Yet, fMRI research shows that there are two distinct networks that support social and non-social thinking and that as one network increases its activity the other tends to quiet down - kind of like a neural seesaw. Here's the really fascinating thing. Whenever we finish doing some kind of non-social thinking, the network for social thinking comes back on like a reflex - almost instantly.

Why would the brain be set up to do this? We have recently found that this reflex prepares us to walk into the next moment of our lives focused on the minds behind the actions that we see from others. Evolution has placed a bet that the best thing for our brain to do in any spare moment is to get ready to see the world socially. I think that makes a major statement about the extent to which we are built to be social creatures.

One of the long-standing mysteries of psychology is the question of where the "self" comes from, and what the "self" even means. Does your research shed any light on this question?

Social psychologists have long speculated that the self is a much more social phenomenon then it intuitively feels like from the inside. There have certainly been studies over the years that are consistent with this idea, however neuroscience is bringing new data to bear that speaks directly to this idea.

There's a region of the brain called "medial prefrontal cortex" that essentially sits between your eyes. This region has been shown again and again to be activated the more a person is reflecting on themselves. It is the region that most clearly and unambiguously is associated with "self-processing." If you think about your favorite flavor of ice-cream, precious personal memories, or consider aspects of your personality (e.g. Are you generous? Are you messy?) you are likely to recruit this brain region.

Given that we tend to think of the self as the thing that separates us from others - that allows us to know how we are different and how to walk our own path - it would be surprising if this same medial prefrontal region was involved in allowing the beliefs of others to influence our own. But this is exactly what we have seen in several studies. The more active the medial prefrontal region is when someone is trying to persuade you of something (e.g. to wear sunscreen everyday) the more likely you'll be to change your tune and start using sunscreen regularly. Rather than being a hermetically sealed vault that separates us from others, our research suggests that the self is more of a Trojan horse, letting in the beliefs of others, under the cover of darkness and without us realizing it. This socially-influenced self helps to ensure that we'll have the same kind of beliefs and values as those of the people around us and this is a great catalyst for social harmony.

What does this research tell us about how we should be raising our children, and what does it mean for education?
I think the most important thing is to educate our children about what we are learning about the true role of our social nature in our happiness and success in life. Intellectually, I know all about these things, but if we don't learn them as children, I'm not sure they ever really get into our guts and guide our intuitive decision-making. I think kids would love learning about how the social world works and how their brain makes that possible.

The research on the social brain also leads to direct policy implications for education. The data are clear that children learn better when they learn in order to teach someone else than when they learn in order to take a test. Learning to teach someone else is prosocial and relies on the social networks of the brain. We had no idea these networks could promote memory but now we do. We ought to be doing much more peer learning, particularly age-staggered learning. My ideal situation would be a 14 year who has trouble in the classroom being assigned to teach a 12 year old. The teacher then becomes a coach helping to teach the 12 year old and the 14 year old will reap the benefits of prosocial learning.

Are you a scientist who specializes in neuroscience, cognitive science, or psychology? And have you read a recent peer-reviewed paper that you would like to write about? Please send suggestions to Mind Matters editor Gareth Cook, a Pulitzer prize-winning journalist and regular contributor to NewYorker.com. Gareth is also the series editor of Best American Infographics, and can be reached at garethideas AT gmail.com or Twitter @garethideas.

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Scientist Matthew Lieberman uncovers the neuroscience of human connections-and the broad implications for how we live our lives

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con·​nec·​tion | \ kə-ˈnek-shən \

a : causal or logical relation or sequence the connection between two ideas

b(1) : contextual relation or association In this connection the word has a different meaning.

(2) : relationship in fact wanted in connection with a robbery

c : a relation of personal intimacy (as of family ties) Family connections can make getting a job much easier.

d : coherence, continuity … a confused multitude without order or connection.— John Locke

2 a : something that connects : link a loose connection in the wiring

b : a means of communication or transport a telephone connection

3 : a person connected with another especially by marriage, kinship, or common interest has powerful connections

4 : a political, social, professional, or commercial relationship The school has no connection with the museum. : such as

b : an arrangement to execute orders or advance interests of another a firm's foreign connections

c : a source of contraband (such as illegal drugs)

5 : a set of persons associated together: such as

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the act of connecting : the state of being connected: such as; causal or logical relation or sequence; contextual relation or association... See the full definition

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Your soulmate is someone who you connect with immediately.

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connection on a spiritual level

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#10 Storytelling - Remember This Picture From 10th Grade?

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#10 Storytelling - Remember This Picture From 10th Grade?

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#9 Storytelling- What Do You Think Is Going On?

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#9 Storytelling- What Do You Think Is Going On?

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#8 Storytelling - A Short Film Without Dialogue

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#8 Storytelling - A Short Film Without Dialogue

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Award winning short film. No actors,no dialogue, only 3 mints,Switch off ?

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#7 A Story Told Through A Piece of Fabric

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#7 A Story Told Through A Piece of Fabric

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"This extraordinary quilt was created by Harriet Powers, an African American woman who was born a slave in Georgia in 1837" (Museum of Fine Arts Boston).

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Appliqué quilt, dyed and printed cotton fabrics applied to cotton. The quilt is divided into fifteen pictorial rectangles. Worked with pieces of beige, pink, mauve, orange, dark red, gray-green and shades of blue cotton.

This extraordinary quilt was created by Harriet Powers, an African American woman who was born a slave in Georgia in 1837. Powers is thought to have orally dictated a description of each square of her quilt to Jennie Smith, who had purchased the first quilt Powers made, and arranged for it to be exhibited at the Cotton States Exposition in Atlanta in 1895. This second quilt is thought to have been commissioned by a group of "faculty ladies" at Atlanta University, and given (together with Powers's descriptions) as a gift to a retiring trustee. What follows is Powers' descriptions of all fifteen blocks starting in the upper left and moving to the right.

FIRST ROW:

1. Job praying for his enemies. Job crosses. Job's coffin.

2. The dark day of May 19, 1780. The seven stars were seen 12 N. in the day. The cattle wall went to bed, chickens to roost and the trumpet was blown. The sun went off to a small spot and then to darkness.

3. The serpent lifted up by Moses and women bringing their children to look upon it to be healed.

4. Adam and Eve in the garden. Eve tempted by the serpent. Adam's rib by which Eve was made. The sun and the moon. God's all-seeing eye and God's merciful hand.

5. John baptizing Christ and the spirit of God descending and resting upon his shoulder like a dove.

SECOND ROW:

6. Jonah cast over board of the ship and swallowed by a whale. Turtles.

7. God created two of every kind, male and female.

8. The falling of the stars on Nov. 13, 1833. The people were frightened and thought that the end had come. God's hand staid the stars. The varmints rushed out of their beds.

9. Two of every kind of animal continued...camels, elephants, "gheraffs," lions, etc.

10. The angels of wrath and the seven vials. The blood of fornications. Seven-headed beast and 10 horns which arose of the water.

THIRD ROW:

11. Cold Thursday, 10 of February, 1895. A woman frozen while at prayer. A woman frozen at a gateway. A man with a sack of meal frozen. Icicles formed from the breath of a mule. All blue birds killed. A man frozen at his jug of liquor.

12. The red light night of 1846. A man tolling the bell to notify the people of the wonder. Women, children and fowls frightened by God's merciful hand caused no harm to them.

13. Rich people who were taught nothing of God. Bob Johnson and Kate Bell of Virginia. They told their parents to stop the clock at one and tomorrow it would strike one and so it did. This was the signal that they had entered everlasting punishment. The independent hog which ran 500 miles from Georgia to Virginia, her name was Betts.

14. The creation of animals continues.

15. The crucifixion of Christ between the two theives. The sun went into darkness. Mary and Martha weeping at his feet. The blood and water run from his right side.

About 1895-1898, Dr. Charles Cuthbert Hall (1852-1908), New York [see note 1]; 1908, by inheritance to his son, the Reverend Basil Douglas Hall (1888 - 1979), New York; between November 2, 1960 and February 7, 1961, sold by Hall to Maxim Karolik (1893-1963), Boston; 1964, bequest of Karolik to MFA. (Accession date: May 13, 1964)

NOTES:
[1] Commissioned and purchased for Hall, President of the Union Theological Seminary in New York, by the faculty ladies of Atlanta University where he had served as chairman of the board of trustees.

Bequest of Maxim Karolik

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Appliqué quilt, dyed and printed cotton fabrics applied to cotton. The quilt is divided into fifteen pictorial rectangles. Worked with pieces of beige, pink, mauve, orange, dark red, gray-green and shades of blue cotton. This extraordinary quilt was created by Harriet Powers, an African American woman who was born a slave in Georgia in 1837.

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#6 "Protesters Across The Country Rally Against Trump's Immigration Policies"

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#6 "Protesters Across The Country Rally Against Trump's Immigration Policies"

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Photography can tell you a story too.
>https://www.npr.org/2018/06/30/624950726/protesters-across-the-country-rally-against-trumps-immigration-policies

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Did you know that traditionally storytelling  was passed down generation to generation? Now, we have books, movies, the web, etc.

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#3 Storytelling Techniques You Need To Know!

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#3 Storytelling Techniques You Need To Know!

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A couple of years ago, as a participant of a master's program in Denmark, I met a fellow journalist from Chile who gave me a lesson on storytelling that I will never forget.

I was in class, half-listening to the end of a monotonous PowerPoint presentation on the history of media, when the next presenter on the list-the Chilean journalist-was called to go up to the podium.

His name was Enrique Núñez, one of the quietest students in the class. All I knew about him was that he always sat in the very front row and, unlike the other students, paid the utmost attention to every word that was said.

As he prepared his notes behind the podium, everyone continued to type away behind their laptop screens. What happened next, however, caught everyone by surprise.

He confidently stepped out from behind the podium and said in a loud and animated voice, "Today, I'm going to tell you the story of a 16-year-old boy with a remarkable talent..."

The clicking of keyboards suddenly stopped and all eyes were fixed on him.

He showed a slide with a giant image of a newspaper vendor looking sadly at the headline 'Roosevelt Dead!'

"This now-famous picture," he said, "was taken by this boy in 1945 and sold to a magazine for $25."

He then presented other images captured by this same boy: a beautiful picture of a shoe shiner gazing up at a flock of birds; another one of a showgirl putting on lipstick in the mirror.

After piquing our curiosity as to who this mystery photographer might be, he finally said:

"This boy grew up to be one of the most influential film directors of all time. Do you know who he was?"

We all waited eagerly.

"Who was he? His name was Stanley Kubrick."

Completely dashing our expectations of him, Enrique went on to give one of the most engaging presentations we had ever heard on the evolution of visual media.

That day, we all learned that presentations didn't have to be long and boring. They could be entertaining and informative at the same time.

The Reason Stories Fascinate Audiences

Why was Enrique's story so captivating?

Academics and marketers alike have found that our brains are hardwired to process and store information in the form of stories. So, when we hear that "once upon a time" there was a certain character in such and such place, our minds are immediately transported to this imaginary scene.

In fact, according to professional speaker Akash Karia, stories are irresistible to the human mind because they activate our imaginations and so we have no choice but to follow the mental movies created in our heads. As a result, they are used by many TED presenters who are some of the most inspirational speakers in the world.

This is further proven by a study I conducted on the evolution of longform multimedia stories published by the New York Times. I found that many of the storytelling techniques used thousands of years ago are still applicable today to a wide range of mediums besides the written word.

Not only are they indispensable tools for novelists, they are useful for presenters, business leaders, marketers, and journalists. They can come in all forms, from slide decks and infographics to videos and static images.

Based on some of my findings of what makes a story captivating, along with advice given by leading experts, here are several ways you can make your next presentation one your audience will never forget:

1 Immerse your audience in a story.

A well-told story is something that will stick in your audience's mind for years to come.

Take this simple yet exceptional TED talk as an example. In it, a 12-year-old Masai boy from Kenya named Richard Turere transports his audience to another world by telling a story about his experiences in his homeland.

With basic words and slides with large, graphic images, Richard weaves a captivating tale of how he invented a system of lights that was able to protect his family's livestock from lion attacks.

The reason this presentation was so successful was that every word and image presented helped to create a clear mental picture of the problem Richard and his family faced.

Also, it clearly followed a golden rule of presentation-giving which is to use visuals that supplement your story rather than repeat what has already been said.

Another way to immerse the audience in your story is to provide sensory details that will allow them to actually see, hear, feel, and smell the different stimuli in your storyworld.

According to Akash Karia, this will turn the presentation into a mental movie that the audience cannot help but engage in, as is done in this TED talk.

Unlike novels, though, presentations must make use of short but effective descriptions.

2 Tell a personal story.

Few things are as captivating as a personal story, especially those of triumph over extreme adversity.

In his insightful book The Seven Basic Plots, author Christopher Booker finds that there are seven basic story plots that have universal appeal. These include the story of the hero defeating a monster, the rags-to-riches tale, the quest for a treasure, and the voyage of a hero who comes back a changed person.

These plots are clearly seen in some of the most popular and moving presentations ever given. Take, for example, this gripping and harrowing tale of a woman's escape from her home land of North Korea. Or this woman's equally powerful story of domestic violence and how she found the courage to leave her abusive spouse.

3 Create suspense.

Those who love to watch movies or read books know that a good story always has to have a conflict and a plot. These two elements are what make a good presentation into a roller coaster ride that keeps listeners/viewers at the edge of their seats, asking themselves, "What will happen next?"

There are several devices that can increase the level of suspense of your story. One way is to tell a story chronologically and build up to a climactic conclusion, as is done here in this story about a woman who was born without fibula bones and grew up to be an accomplished athlete, actress and model.

Another way is to plop the viewer/listener right in the middle of action and then go backwards in time to reveal how all of this occurred.

A good example of this is Zak Ibrahim's story, which begins with the revelation that his father was involved in the World Trade Center bombing. He then goes back in time to tell events from his childhood and how he grew up to choose a different path from his father's.

A third way is to begin by telling a predictable story and then surprise the audience by taking a completely different turn from what was expected.

For example, this TED talk begins with a presenter who leads his audience to believe he doesn't speak English, only to surprise them in order to make a point about how we construct identity.

4 Bring characters to life.

Characters are at the heart of any story. Their fortunes and misfortunes are what make people want to laugh, cry or rejoice.

The most successful stories, I found, were those that created three-dimensional characters who were easy to identify and, at the same time, had an uncommon characteristic.

In order to do this, you must provide enough detail to bring the character to life in the minds of those in the audience.

For example, master storyteller Malcolm Gladwell creates a vivid picture of Howard in this presentation by describing his physical appearance and mentioning his hobbies and obsessions.

5 Show. Don't tell.

Instead of telling your audience about a certain event in a story, try showing them by transporting them to a scene.

For example, in the introduction to this article, I could have simply told you that I had an introverted classmate who one day wowed the whole class with an awesome presentation. This, however, would not have had the same effect as using descriptions of setting and conversations to take you to the middle of a scene.

So, whenever you deliver a story, try scene-by-scene construction of events and use dialogue instead of narration, as seen in this presentation which won the 2014 World Championship of Public Speaking.

6 Build up to a S.T.A.R. moment.

Similar to a climax, a S.T.A.R. moment is a "Something They'll Always Remember" event that is so dramatic that your audience will be talking about it weeks later.

According to presentation expert Nancy Duarte in her book Resonate, this can come in the form of a dramatization, provocative images, or shocking statistics.

Bill Gates resorted to this technique in a 2009 TED talk when he made the case for increasing investment in eradicating malaria. He gave statistics to prove how serious the problem was and then shocked the room by opening a jar full of mosquitos, saying "There's no reason only poor people should have the experience."

7 End with a positive takeaway.

After analyzing 200 of the best TED talks, presentation expert Akash Karia found that the most effective presentations not only had a conflict and a climax, but also a positive resolution.

On the path to triumph, most characters in these stories received what he calls a "spark," a key piece of wisdom or advice that helped them overcome their obstacles and change for the better.

This key takeaway message was then packaged into a short, memorable phrase or sound bite that could easily become viral on social media platforms like Twitter.

For example, in the previously mentioned talk on domestic abuse, the presenter concluded that instead of blaming victims, we should "recast survivors as wonderful, loveable people with full futures."

So, now that we have plenty of examples of how to give a memorable presentation, what are the key takeaways of this post?
Remember to:

1. Immerse your audience in the story.

2. Tell a personal story.

3. Create suspense.

4. Bring characters to life.

5. Show. Don't tell.

6. Build up to S.T.A.R. moment.

7. End with a positive takeaway.

"A successful talk is a little miracle-people see the world differently afterward."

-TED curator Chris Anderson

Your Turn

We share all our secrets on how to deliver an unforgettable presentation (as well as how to create visual slides with impact) in our free e-book below. And if you want to share your own visual slide deck and storytelling experiences, we would love to hear about them in the comments section below!

90% of all information transmitted to our brains is visual.
People remember...

Become a more effective visual communicator. With Visme, you can create, share or download your visuals with no design training. It's free! Take a tour.

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7 Storytelling Techniques Used by the Most Inspiring TED Presenters

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A couple of years ago, as a participant of a master's program in Denmark, I met a fellow journalist from Chile who gave me a lesson on storytelling that I will never forget. I was in class, half-listening to the ...

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#2 Want to Listen to A Storytelling Podcast?

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#2 Want to Listen to A Storytelling Podcast?

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[Verse 1]
I'm gonna make a change
For once in my life
It's gonna feel real good
Gonna make a difference
Gonna make it right
As I turned up the collar on my favorite winter coat
This wind is blowin' my mind
I see the kids in the street, with not enough to eat
Who am I to be blind, pretending not to see their needs
A summer's disregard, a broken bottle top
And one man's soul
They follow each other on the wind, ya know
'Cause they got nowhere to go
That's why I want you to know

[Chorus]
I'm starting with the man in the mirror
I'm asking him to change his ways
And no message could have been any clearer
If you wanna make the world a better place
Take a look at yourself and then make a change

[Verse 2]
I've been a victim of a selfish kinda love
It's time that I realize
There are some with no home
Not a nickel to loan
Could it be really me pretending that they're not alone
A willow deeply scarred, somebody's broken heart
And a washed out dream
They follow the pattern of the wind, ya see
'Cause they got no place to be
That's why I'm starting with me

[Extended Chorus]
I'm starting with the man in the mirror
I'm asking him to change his ways
And no message could have been any clearer
If you wanna make the world a better place
Take a look at yourself and then make a change

I'm starting with the man in the mirror
I'm asking him to change his ways
And no message could have been any clearer
If you wanna make the world a better place
Take a look at yourself and then make that change

I'm starting with the man in the mirror (Man in the mirror, oh yeah)
I'm asking him to change his ways (Change his ways)
(Come on, change)
And no message could have been any clearer

[Bridge]
If you wanna make the world a better place
Take a look at yourself and then make the change
You gotta get it right, while you got the time
'Cause when you close your heart (You can't)
Then you close your mind (Close your, your mind!)

[Chorus]
(That man, that man) I'm starting with the man in the mirror
(That man)
(Ooh!)
(That man, that man) I'm asking him to change his ways
(That man, the man)
(Change his ways, ooh!)
And no message could have been any clearer
If you want to make the world a better place
Take a look at yourself and then make that
(Take a look at yourself and then make that)
Change!

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The Parking Ticket Experiment | The Science of Empathy - YouTube

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The Parking Ticket Experiment | The Science of Empathy - YouTube

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The Parking Ticket Experiment | The Science of Empathy

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"How Children Develop Empathy" by By Lawrence Kutner, Ph.D

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"How Children Develop Empathy" by By Lawrence Kutner, Ph.D

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Article > https://psychcentral.com/lib/how-children-develop-empathy/

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Empathy is like giving someone a psychological hug.
- Lawrence J

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Whenever you feel like criticizing any one...just remember that all the people in this world haven't had the advantages that you've had.
- F. Scott Fitzgerald

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Definition: the action of understanding, being aware of, being sensitive to, and vicariously experiencing the feelings, thoughts, and experience of another of either the past or present without having the feelings, thoughts, and experience fully communicated in an objectively explicit manner (Miriam-Webster