Love The Ambience Quotes

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Let's get loose With Compassion, Let's drown in the delicious Ambience of Love.
The Gift
In love and mating, ambience is central.
Norman Rush (Mating)
What I especially love about Kmart is the ambience. I always feel like I’ve entered a store that was just attacked by a flash mob. Everything always looks and feels a little disheveled.
Jim Gaffigan (Food: A Love Story)
Being in love changes a person…a modest touch changes one’s mind, a lone thought one’s reasoning, but a kiss my friend, well that changes one’s existences.
Christina Marie Morales (Ambience (The Ghost of Saint Augustine Trilogy #1))
Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting.
E.A. Bucchianeri (Brushstrokes of a Gadfly, (Gadfly Saga, #1))
Here I was with the guy I maybe-loved, relaxing by the ocean with salty crisp breezes and blue-gray sea curving into a for-ever horizon. We even had background music to add to the romantic ambience. And except for the "can't kiss because he's my brother" thing, this was the perfect romantic moment.
Linda Joy Singleton (Dead Girl Dancing (Dead Girl, #2))
A few months into our relationship, we had a campout down at my dad’s place. There were a lot of people from church, and we played games and fished into the night. We all gathered around a huge campfire, ate dinner, and sang songs together. Missy was clinging all over me, mainly because she was scared of everything flying in the air or crawling on the ground. It was one of those nights when you feel closer to God and everyone else because of the setting and the ambience--despite the bug activity. That was the first time we said “I love you” to each other. Now, there is still an ongoing debate as to who said it first. I remember clearly that she whispered, “I love you,” and then I responded. She is convinced that I said it first, but she was under the influence of bug paranoia. I believe her condition affected her memory.
Jase Robertson (Good Call: Reflections on Faith, Family, and Fowl)
You have a new dog and you wish the dog to treat you (rather than another member of your family) as "Master." The first rule is to feed the dog regularly, and, if possible, in early months, make sure no other member of the family ever feeds the dog. In ethological jargon, the dog will imprint you as the equivalent of Top Dog in a wild dog pack, or the closest analog to that Top Dog in a domesticated canine-primate ambience. Similarly, all brainwashers use this principle — usually unconsciously — by feeding their victims. This is necessary to keep the victims alive until their minds have been re-conditioned, of course, but it may also be a re-imprinting technique. We are mammals, too, and we tend to imprint as Top Dog those who feed us when we are helpless. The "paradoxical" sympathy for terrorists often reported by those who are held captive may also grow out of this neurological tendency to make a Top Dog out of whoever feeds us. It is shocking, to some, to think that this may also be the origin of the infant's love for its mother. One cannot help wondering how much of the reality-tunnel of the Military-Industrial Empire gets imprinted or conditioned upon the Scientific Citadel which is fed by it.
Robert Anton Wilson (The New Inquisition: Irrational Rationalism and the Citadel of Science)
All the little Indians in a half circle around Aunt Emily are getting an imprinting that will last for life. The sound of her voice reading will condition how they look upon themselves and the world. It will become part of the loved ambience of Battell Pond, a glint in the chromatic wonder of childhood. These small sensibilities will never lose the images of dark woods and bright lake. Nature to them will always be beneficent and female.
Wallace Stegner (Crossing to Safety (Modern Library Classics))
Easily he had turned studying my least favorite subject in history into my now most memorable one. Then there was his want to make our relationship more real than superficial, something very new to me. Though I was one relationship more knowledgeable than he was, it always felt like he knew more than I did of how relationships where built for the long run. Then again, he could have just learned that from watching his parents or maybe the innocence of our relationship just made him want to keep it pure and real. Like digging deep and wanting to get to know me, not just make out sessions every time we were together. Augusto knew more of the real me, the girl who wants to be a history teacher, enjoys her fries with garlic and cheese, and appreciates when a boy doesn’t complain when plans are made with my friends and he isn’t a part of them.
Christina Marie Morales (Ambience (The Ghost of Saint Augustine Trilogy #1))
I have some books if you need something to read,” I tell him, hesitation I have never before felt obvious in my tone. It's uncomfortable and I loathe it. “And if you get super bored, you can even alphabetize them. I know you like doing that.” He glances up at me and away. “I have plenty to do.” Blake's eyes narrow on me before he turns to his brother. “We'll be sure to bring you back some cotton candy.” “Don't bother.” “Graham doesn't like cotton candy,” I say. Blake's eyes twinkle as they meet mine. “More for me then. Ready?” Graham straightens as his brother walks toward me. “The cotton candy isn't yours to have. Just remember that.” What the heck is going on? They're arguing over cotton candy now? I mean, really? Do their competitive natures know no end? They're dragging spun sugar into their war now? Briefly pausing, Blake replies, “It is if no one else wants it.” With gritted teeth, Graham replies, “Maybe it isn't that no one wants it. Maybe they just don't want to pressure anyone into thinking they just want cotton candy and nothing else. Maybe they want to make sure everyone knows how much they really enjoy cotton candy, not just for now, but for always.” “But you don't like cotton candy,” I point out to Graham, since I guess he forgot. Rolling his eyes, Blake puts a hand on my arm and gently pushes. “Let's go, Einstein.” “Maybe I really actually love cotton candy!” he hollers as the door closes. I look at Blake as we loiter inside the apartment building. “What just happened? He so doesn't like cotton candy.” He sweeps a hand over the top of my head without touching it. “Never mind. Some things are beyond you.” “That sounded like an insult.” “Did it?” His facial expression is all innocent. “Apparently that wasn't beyond me,” I mutter as we head out into the scorching heat of a summer evening, Wisconsin style. A mosquito immediately attacks my arm, making the ambience complete
Lindy Zart (Roomies)
Rodolphe Salis was a tall, red-headed bohemian with a coppery beard and boundless charisma. He had tried and failed to make a success of several different careers, including painting decorations for a building in Calcutta. But by 1881 he was listless and creatively frustrated, uncertain where his niche might lie. More pressingly, he was desperate to secure a steady income. But then he had the ingenious idea to turn the studio which he rented, a disused post office on the resolutely working-class Boulevard de Rochechouart, into a cabaret with a quirky, artistic bent. He was not the first to attempt such a venture: La Grande Pinte on the Avenue Trudaine had been uniting artists and writers to discuss and give spontaneous performances for several years. But Salis was determined that his initiative would be different – and better. A fortuitous meeting ensured that it was. Poet Émile Goudeau was the founder of the alternative literary group the Hydropathes (‘water-haters’ – meaning that they preferred wine or beer). After meeting Goudeau in the Latin Quarter and attending a few of the group’s gatherings, Salis became convinced that a more deliberate form of entertainment than had been offered at La Grande Pinte would create a venue that was truly innovative – and profitable. The Hydropathe members needed a new meeting place, and so Salis persuaded Goudeau to rally his comrades and convince them to relocate from the Latin Quarter to his new cabaret artistique. They would be able to drink, smoke, talk and showcase their talents and their wit. Targeting an established group like the Hydropathes was a stroke of genius on Salis’s part. Baptising his cabaret Le Chat Noir after the eponymous feline of Edgar Allan Poe’s story, he made certain that his ready-made clientele were not disappointed. Everything about the ambience and the decor reflected Salis’s unconventional, anti-establishment approach, an ethos which the Hydropathes shared. A seemingly elongated room with low ceilings was divided in two by a curtain. The front section was larger and housed a bar for standard customers. But the back part of the room (referred to as ‘L’Institut’) was reserved exclusively for artists. Fiercely proud of his locality, Salis was adamant that he could make Montmartre glorious. ‘What is Montmartre?’ Salis famously asked. ‘Nothing. What should it be? Everything!’ Accordingly, Salis invited artists from the area to decorate the venue. Adolphe Léon Willette painted stained-glass panels for the windows, while Théophile-Alexandre Steinlen created posters. And all around, a disorientating mishmash of antiques and bric-a-brac gave the place a higgledy-piggledy feel. There was Louis XIII furniture, tapestries and armour alongside rusty swords; there were stags’ heads and wooden statues nestled beside coats of arms. It was weird, it was wonderful and it was utterly bizarre – the customers loved it.
Catherine Hewitt (Renoir's Dancer: The Secret Life of Suzanne Valadon)
It's everywhere and yet nowhere In the eyes of a child In your smile, even if it's mild It's in the imperceptible dew of the dawn It's in the ambience of a freshly cut lawn. Yet how selfish I would be if I would be talking about it only in the sight sense second love Voices in which I can dove Forever and never come out It's not only what beauty is about And yet a shame on all of us We still chose that face As the only place to admire beauty
Mallika Chawla
The romantic ambience that surrounded them as they walked felt almost magical and Zoe was quickly seduced by the pleasant nature of her environment as she was literally swept of her feet by the beauty of the resort as she'd absolutely never, ever been in a place that was so breathtakingly stunning ever before.
Jill Thrussell (Love Inc: Sophistidated (Glitches #2))
After finishing their main course and dessert, she and Cady prepared her extra dish. Sophia had decided to make the girls' favorite dinner- beef tenderloin with peppercorn sauce. Soon enough they were plating and rushing back and forth to the huge banquet table set up in the courtyard. Pouring wine and adjusting garnishes and offering smiles to the judges. The ambience of this meal was Sophia's idea of romance. The table was draped with ivory linen and topped with glass jars of flowers. Bouquets of Rosa rugosa and Queen Anne's lace were nestled among votives and bottles of wine. The local glassblower had provided an assortment of pottery dishes and hand-blown goblets. Strands of white lights dangled from the surrounding trees. She and Elliott and the girls plated together, having reached some sort of exhausted Zen state. Emilia scooped the risotto, Elliott placed the salmon on top, Sophia added the three tiny sides shaped with a round cookie cutter. Elliott drizzled his sauce onto the final product. He brushed his shoulder against Sophia each time, needing that physical connection. The plates looked exquisite, artistic. Perfect. She tried to ignore the overwhelming stress of the moment and focus on the food. Cady and Emilia added garnishes- fresh herbs and flowers. And Cady had a whole sheet of candied violets ready to sprinkle on their dessert. It made Elliott laugh and tease them all about being a family of garden sprites. When they finally got to the head of the table and faced a sea of critics, Sophia felt confident about their choices. They'd prepared a beautiful meal that successfully showcased Elliott's love for Scottish tradition, local Vermont products, and the Brown family's love of fresh vegetables and herbs. All the components meshed together into one cohesive meal.
Penny Watson (A Taste of Heaven)
We followed him to a covered veranda. In America, we would call that a lemonade porch, however, in South Africa, they call it a stoep. A meeting place located outside the front of the home where friends and family can gather, and one can watch the rising or the setting of the sun in the cozy spot simply called a stoep. The stoep projected a natural ambience of peace and harmony, as a light breeze filled the space with its woodsy fragrance of pine and other natural fragrances inspired by the area’s shrubbery. It almost felt like it was hypnotizing one into a deeper state of tranquility, a state of existence that celebrated the quiet pockets of solitude where a richer from of living is housed. It made one slouch a little more meaningfully and relax the muscles of your body a little more conscientiously, as you let go of one’s innate need to think – to think to the point of hyper focusing on the meaningless details of life, for example, the incessant need to make every moment in life count… Yet, the stoep’s lesson of deeper living is simply the gift of becoming reacquainted with the joy of just being – open yet connected to now, without a higher purpose beyond that. Sometimes, the greatest gift that we can give ourselves is just to sit in the rawness of the moment without any outcome or intention in mind – except, to breathe in the life of the area around us. That is where my afternoon’s lesson ended, knowing that a stoep is a space where quality of human connection is made with or without the presence of any audience because it’s that space that celebrates the stillness of nothing and yet everything simultaneously, or in the words of Rumi: “In order to understand the dance, one must be still. And in order to truly understand the stillness, one must dance.” In South Africa that concept is lovingly called…Die Stoep, a space of possibility.