A Quote by Gloria Steinem
We are still behaving as if a worker really doesn't have a family because the work pattern really was meant for men who really were the financial support but weren't looking after their families. We need to change this, and we can easily do that.
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In the family pattern, men support boys and women support girls, and because women have far fewer financial resources, there is less money to invest in girls.
When we really need to work hard to make sure that these ideas about constructive social change culturally, ecologically and politically, come to pass. And that's only going to happen if people support the leadership, because the same power structures are still in place, and it's not in their best interests to change.
It was really really neat to make the movie because there were mentally challenged actors in the movie. So that was really really cool to work with them and they were always really happy, and they made everybody really happy on the set too.
Obviously, the good thing about golf, it's difficult to really, really blow it after five holes unless it goes really, really, really... really, really, really wrong. But you still have 13 to go, and if you have a good run, where you make five or six birdies, you can get it back somehow.
I'm really proud of the way that 'Pose' has brought people's families together and touched people's hearts and opened people's minds. It's really incredible to see. It's a show about love and family, and it highlights what it really means to have a family and to be a family and to love your family.
We require Canadians who are collecting EI benefits to prove they are looking for work. It's only fair that we require employers looking to benefit from the Temporary Foreign Worker Program to prove they really need it.
I think we're really hungry for family in America, especially when I feel like people are really pulled apart from their families. So, we were interested in the idea of what the extreme version of that would be.
I was the fifth child in a family of six, five boys and one girl. Bless that poor girl. We were very poor; it was the 30s. We survived off of the food and the little work that my father could get working on the roads or whatever the WPA provided. We were always in line to get food. The survival of our family really depended on the survival of the other black families in that community. We had that village aspect about us, that African sense about us. We always shared what we had with each other. We were able to make it because there was really a total family, a village.
The benefits cap is right in principle because people don't pay their taxes so that families who could work don't work. People pay their taxes so we support people who really need to be supported.
So the misplaced assumption is that we have this whole new institutional element where these [financial] institutions are looking after their own financial interests before the financial interests of the principals, princi-pals whose interests they are really bound to observe first.
The fact that Edward Snowden didn't approach the New York Times hurt a lot. It meant two things. Morally, it meant that somebody with a big story to tell didn't think we were the place to go, and that's painful. And then it also meant that we got beaten on what was arguably the biggest national security story in many, many years. Not only beaten by the Guardian, because he went to the Guardian, but beaten by the Post, because he went to a writer from the Post. We tried to catch up and did some really good stories that I feel good about. But it was really, really, really painful.
I like creating these moments where there's this dichotomy between something that repels you but is still so attractive that you can't stop looking. You still want to acquire it; there's still that level of aspiration for the image of the figure or the person you're looking at. when you look at the work there's this, "Oh it's really beautifully rendered!" or, "I love those beautiful tones." There's some aspect that's really attractive but the image itself could be slightly distributing.
My family is really excited to see me in 'Made In China' because Boman Irani is there in the film and I am a Parsi so, my family and I are really looking forward for the release of the film.
I do not have a family, per se. When I was younger, I grew up in foster care with my brother and sister. It was really a struggle, and knowing that there were people out there with tight-knit families really made my childhood an unfortunate one.
For action to work, you need an awful lot of coverage. Because if you do a fight sequence, you really need to be able to creed the energy in the edit or augment the energy in the edit. So you need to really, really cover it.
My family didn't really have newspapers at home or talk about politics - my family are not political. They were too busy getting on with it - working, looking after kids, trying to pay off the mortgage, all that stuff.
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