Female Directors Quotes

There’s something different about when a female directs versus a male. The level of maturity, mutual respect, and energy that you get from a female director is so different. I’ve worked with male directors who aren’t good, and no one says anything about it, but then we had one female director who was kind of all over the place and everyone complained. It’s so gendered. I feel safer when working with a female director because I know it’s from a female gaze.

Failure was a luxury we couldn't afford, all chained together as we were, our fates locked up tight. One box office flop from a female director and no one wanted "girl" movies, one stock market plunge from a company with a woman CEO and women couldn't lead, one false accusation and we were liars, all of us. Because when we failed it was because of our chromosomes, it wasn't because of a market dip or an ineffective advertising campaign or plain bad luck.

The problem with being the only woman in a play in which the three other characters were men and the playwright was a man and the director was a man was that no matter what I said, I sounded petulant, female.

A seductive female voice added, “Hello Henry, I’m the deputy director. But you can call me Samantha.” Henry’s response was accusing. “You’re a droid!” “I’m an R9054, one of the most powerful robotic systems devised by Ingermann-Verex, my makers. And I prefer the term humanoid if you don’t mind.” Locking onto her image, Henry noted the strange wrap-round view panel enshrouding the top part of the body shell. Inside, there was a human face seemingly trapped inside an electronic body. Although he’d seen a number of droids with similar face screens, Samantha’s was the most realistic, so he guessed her claims of being top of her range were probably right.

Why I am Passionate and Dedicated 1000% to producing and bringing my books Loving Summer, Bitter Frost, and other book series to the Screen is because these are the very books that I was cyber-bullied on. When confronted by bullies, you don't shy away, but you Fight Back. Many people have not read the books, but believe fake news and damaging slanders against them and me as a person because it was a marketing strategy used to sell my books' rival books. By bringing these very books to the screen, people can see how different my books are to theirs. Also, most of all, it is pretty darn fun and fierce for me, as a female Asian writer, director, and producer to bring these fan favorite books to screen.

People won’t see you as just another woman any more, but as a white woman who hangs with brownies, and you’ll lose a bit of your privilege, you should still check it, though, have you heard the expression, check your privilege, babe? Courtney replied that seeing as Yazz is the daughter of a professor and a very well-known theatre director, she’s hardly underprivileged herself, whereas she, Courtney, comes from a really poor community where it’s normal to be working in a factory at sixteen and have your first child as a single mother at seventeen, and that her father’s farm is effectively owned by the bank Yes but I’m black, Courts, which makes me more oppressed than anyone who isn’t, except Waris who is the most oppressed of all of them (although don’t tell her that) In five categories, black, Muslim, female, poor, hijab bed She’s the only one Yazz can’t tell to check her privilege Courtney replied that Roxane Gay warned against the idea of playing ‘privilege Olympics’ and wrote in Bad Feminist that privilege is relative and contextual, and I agree, Yazz, I mean, where does it all end? Is Obama less privileged than a white hillbilly growing up in a trailer park with a junkie single mother and a jailbird father? Is a severely disabled person more privileged than a Syrian asylum-seeker who’s been tortured? Roxane argues that we have to find a new discourse for discussing inequality Yazz doesn’t know what to say, when did Court read Roxane Gay - who’s amaaaazing? Was this a student outwitting the master moment? #whitegirltrumpsblackgirl

Grace Slaughter - the surname of her fifth husband, a manufacturer of pharmaceutical toners and "prophylactic" products, recently deceased due to a ruptured peritoneum - was sharply chauvinistic and would allow no more than two exceptions to her all-American views, exceptions with which her first spouse, Astolphe de Guéménolé-Longtgermain, no doubt had something to do: cooking had to be done by French nationals of male gender, laundry and ironing by British subjects of female gender (and absolutely not by Chinese). That allowed Henri Fresnel to be hired without having to hide his original citizenship, which is what had to be done by the director (Hungarian), the set designer (Russian), the choreographer (Lithuanian), the dancers (Italian, Greek, Egyptian), the scriptwriter (English), the librettist (Austrian), and the composer, a Finn of Bulgarian descent with a large dash of Romanian.

One hundred percent of the top American films of 1954, the year Creature from the Black Lagoon was released, were directed by men. Ninety-six percent of the top American films for 2016, the year I started writing this book, were directed by men. In sixty-two years, we have improved gender equality in American film directing by four percent. At this rate, we'll be colonizing Mars before we see an qual number of female directors.

Without ever discussing it or making a conscious shift, we reflexively engaged one another in meetings. This did not mean we always agreed with one another; some of my most heartfelt arguments were with my fellow female Senior Directors. But we took one another's ideas seriously. This meant never leaving them simply hanging in the air, which typically happened in large group discussions.

An early glass-ceiling breaker, Benchley came to the fledgling San Diego Zoo in 1925 as a civil servant bookkeeper and quickly began doing everything from taking tickets to sweeping cages in the burgeoning but always-cash-strapped zoo, until she soon took over directorial chores after a series of male directors didn’t last. While she was known in newsprint and popular culture by the time of our tale as the only female zoo director in the world, the official title given her by the

From REQUSISITION FOR: A THIEF - Book 1 Female Reporter: "Agent Garret, could you answer one more question?... Why can't the FBI catch this guy?" Director Denny Garret: "The problem is two-fold, really. ...If we're ever gonna catch him it's gonna be because he's failed. If you want to see Gregg Hadyn fail, a jewel heist is the last place to look." Carly Macklin: "What is your thing, Gregg Hadyn?" Gregg Hadyn: "You know, I'm really good at taking things that don't belong to me." Director Denny Garret: "Bobby pins?" International Jewel Thief Gregg Hadyn: "They make the best handcuff picks.

In the early 1970s, racial and gender discrimination was still prevalent. The easy camaraderie prevailing in the operating room evaporated at the completion of surgical procedures. There was an unspoken pecking order of seating arrangements at lunch among my fellow physicians. At the top were the white male 'primary producers' in prestigious surgical specialties. They were followed by the internists. Next came the general practitioners. Last on the list were the hospital-based physicians: the radiologists, pathologists and anaesthesiologists - especially non-white, female ones like me. Apart from colour, we were shunned because we did not bring in patients ourselves but, like vultures, lived off the patients generated by other doctors. We were also resented because being hospital-based and not having to rent office space or hire nursing staff, we had low overheads. Since a physician's number of admissions to the hospital and referral pattern determined the degree of attention and regard accorded by colleagues, it was safe for our peers to ignore us and target those in position to send over income-producing referrals. This attitude was mirrored from the board of directors all the way down to the orderlies.

There is no one way of seeing. Nor is there a right way of seeing. Yet simply to accept the notion that both the male and the female gaze are equally valid and equally to be valued in cinema (and in life) is to welcome with relief the rise of women directors. Needless to say, there are whole aspects of human experience that women are much better positioned to explore, including friendship between women, anxieties about women’s careers, women’s parenting and aging, women’s social concerns and, as in the work of Kathryn Bigelow, men as seen through women’s eyes. Likewise, though romance may be of equal concern to both sexes, a woman’s perspective will inevitably be different.

...at Newsweek only girls with college degrees--and we were called "girls" then--were hired to sort and deliver the mail, humbly pushing our carts from door to door in our ladylike frocks and proper high-heeled shoes. If we could manage that, we graduated to "clippers," another female ghetto. Dressed in drab khaki smocks so that ink wouldn't smudge our clothes, we sat at the clip desk, marked up newspapers, tore out releveant articles with razor-edged "rip sticks," and routed the clips to the appropriate departments. "Being a clipper was a horrible job," said writer and director Nora Ephron, who got a job at Newsweek after she graduated from Wellesley in 1962, "and to make matters worse, I was good at it.

Bust magazine, back when it was a more outwardly feminist publication, used to ask each of their female interview subjects whether or not they identified as feminist. In 2005, the musician Björk said no, and that interview is still used in these online lists as of this year. Björk is a female artist often credited with being one of the most innovative and daring musicians of her generation, regardless of gender. She has collaborated with and supported women musicians, fashion designers, video directors. She has spoken frankly and openly in interviews about the difficulties of being a woman in a male-dominated industry. She has proven herself to be an exemplary human being and creator, and she is a tremendous role model for young aspiring musicians. If we understand that the problem feminists have with Björk has nothing to do with her actions and is only about her language and way of identifying herself, then we can recognize that this is about a feminist marketing campaign and not a philosophy. Compare

There are tiny mites living in our eyelashes. Hal Roach was a famous director who used to hire drunk and insane people to generate creative ideas. To attract female goats, Billy goats urinate on their own heads. Jewish people do not eat pork. Khazaria was a medieval Turkic kingdom that adopted Judaism as its official religion; it was the only non-Semitic state to become Jewish after Israel. The largest economy in the United States is California. More deer are killed by drivers than by hunters. The automotive center of the world is in Detroit. If the earth were ever to stop spinning, all the oceans would flow to the north and south poles. Around 16 to 20 percent of the terms searched on Google are said to have been never searched before. Bamboo can grow 35 inches per day making it the fastest growing woody plant in the world. The heaviest insect found on the earth is ‘Giant Weta’. It weighs more than a pound and is found in New Zealand. The CIA is expected to release the JFK assassination records to the public no later than 10/26/2017.

Sex may be completely out in the open now, but it's still defined and controlled by a powerful subset of elite men. In the past thirty years, ideas about what makes women sexy have become narrower, more rigid, and more pornographic in their focus on display and performance. Nancy Jo Sales wrote an article in Vanity Fair about the 'porn star' aesthetic and young girls' behavior on social media, observing that pornography is not about liberation but about control. The more pornography, the more control. 'Girls talk about feeling like they have to be like what they see on TV,' the director of a youth-counseling service for teens told Sales. 'They talk about body-image issues and not having any role models. They all want to be like the Kardashians.' The pervasiveness of the porn aesthetic, combined with the under-representation of more multidimensional female characters, affects the attitudes, behavior, and ideas about gender roles in both girls and boys, but it's especially insidious for girls' self-concept; as they constantly absorb the message that the choice comes down to either duck-faced selfies across a portfolio of social-media accounts, or abject invisibility.

THIS IS A BOOK ABOUT FRENCH CINEMA, specifically the women of today’s French cinema—a subject as vital as life and as irresistible as movies. Yet many Americans, unfamiliar with French film, will hear “women of today’s French cinema” and immediately imagine something forbidding or austere. Other more refined cineastes may know and appreciate the French movies that play at art houses and arrive on DVD in this country, but they can’t know the full story. They are not in a position to know that what they are seeing is just a hint of something vast and extraordinary. The full story is that for the last two decades France has been in the midst of an explosion of female talent. What is happening in France today is a blossoming of female brilliance and originality of a kind that has never happened anywhere or at any period of film history, with but one glorious exception—in the Hollywood of the 1930s. Indeed, today’s Hepburns, Davises, Crawfords, Garbos, and Stanwycks are not American. They’re French. They are working constantly, appearing up to three or four times each year in films geared to their star personalities and moral meaning. These films, often intelligent, personal, and insightful investigations into what it means to be human in the twenty-first century, are the kinds of films that many Americans want to see. And they wonder why no one is making them. But people are making them, just not in the United States. Moreover, women are not only working in front of the camera in France but behind it, too. Important actresses are writing and directing films, and many of the country’s biggest and most acclaimed directors are women. Truly, this is a halcyon period, happening as we speak, and to miss this moment would be like living in 1920 and never seeing a silent comedy, or like living in 1950 and never seeing a film noir. It would be to miss one of the most enriching cinematic movements of your time. Yet most Americans, virtually all Americans, have been missing it.

At first piecemeal, then point-blank, he let his attention be drawn to a little scene that was being acted out sublimely, unhampered by writers and directors and producers, five stories below the window and across the street. A fair-sized maple tree stood in front of the girls' private school--one of four or five trees on that fortunate side of the street--and at the moment a child of seven or eight, female, was hiding behind it. She was wearing a navy-blue reefer and a tam that was very nearly the same shade of red as the blanket on the bed in van Gogh's room at Aries. Her tam did, in fact, from Zooey's vantage point, appear not unlike a dab of paint. Some fifteen feet away from the child, her dog--a young dachshund, wearing a green leather collar and leash--was sniffing to find her, scurrying in frantic circles, his leash dragging behind him. The anguish of separation was scarcely bearable for him, and when at last he picked up his mistress's scent, it wasn't a second too soon. The joy of reunion, for both, was immense. The dachshund gave a little yelp, then cringed forward, shimmying with ecstasy, till his mistress, shouting something at him, stepped hurriedly over the wire guard surrounding the tree and picked him up. She said a number of words of praise to him, in the private argot of the game, then put him down and picked up his leash, and the two walked gaily west, toward Fifth Avenue and the Park and out of Zooey's sight. Zooey reflexively put his hand on a cross-piece between panes of glass, as if he had a mind to raise the window and lean out of it to watch the two disappear. It was his cigar hand, however, and he hesitated a second too long. He dragged on his cigar. "God damn it," he said, "there are nice things in the world--and I mean nice things. We're all such morons to get so sidetracked. Always, always, always referring every goddam thing that happens right back to our lousy little egos." Behind him, just then, Franny blew her nose with guileless abandon; the report was considerably louder than might have been expected from so fine and delicate-appearing an organ. Zooey turned around to look at her, somewhat censoriously.

The fact that no one made demands on her knowledge in her special field was lucky for Simochka. Not only she but many of her girlfriends had graduated from the institute without any such knowledge. There were many reasons for this. The young girls had come from high schools with very little grounding in mathematics and physics. They had learned in the upper grades that at faculty council meetings the school director had scolded the teachers for giving out failing marks, and that even if a pupil didn't study at all he received a diploma. In the institute, when they found time to sit down to study, they made their way through the mathematics and radio-technology as through a dense pine forest. But more often there was no time at all. Every fall for a month or more the students were taken to collective farms to harvest potatoes. For this reason, they had to attend lectures for eight and ten hours a day all the rest of the year, leaving no time to study their course work. On Monday evenings there was political indoctrination. Once a week a meeting of some kind was obligatory. Then one had to do socially useful work, too: issue bulletins, organize concerts, and it was also necessary to help at home, to shop, to wash, to dress. And what about the movies? And the theater? And the club? If a girl didn't have some fun and dance a bit during her student years, when would she do so afterward? For their examinations Simochka and her girlfriends wrote many cribs, which they hid in those sections of female clothing denied to males, and at the exams they pulled out the one the needed, smoothed it out, and turned it in as a work sheet. The examiners, of course, could have easily discovered the women students' ignorance, but they themselves were overburdened with committee meetings, assemblies, a variety of plans and reports to the dean's office and to the rector. It was hard on them to have to give an examination a second time. Besides, when their students failed, the examiners were reprimanded as if the failures were spoiled goods in a production process—according to the well-known theory that there are no bad pupils, only bad teachers. Therefore the examiners did not try to trip the students up but, in fact, attempted to get them through the examination with as good results as possible.

Director: Sripriya Producer: Rajkumar Sethupathy Screenplay: Aashiq Abu Story: Abhilash Kumar,Shyam Pushkaran Starring: Nithya Menen,Krish J. Sathaar,Naresh Music: Aravind-Shankar Cinematography: Manoj Pillai Editing: Bavan Sreekumar Studio: Rajkumar Theatres Pvt Ltd Sri Priya is back with her new venture titled ‘Malini 22 Palayamkottai’ with actor Krish, son of Malayalam actors Sathar and Jayabharathi. Actor Krish was ready for the negative shades of ‘Malini 22 Palayamkottai’, remake of malayalam film ‘22 Female Kottayam’ when none were ready to play the role with adverse shades. To make a mark in 40th year of Sripriya's venture in Tamil industry, she has come up with a theme carrying crime against women and to reveal the social issues in present scenario through ‘Malini 22 Palayamkottai’ Tamil movie. ‘Malini 22 Palayamkottai’ Tamil film is directed by Sripriya. The revenge thriller movie is produced by Rajkumar Theatres Pvt.ltd. ‘Malini 22 Palayamkottai’ movie casting Nithya Menon, Vidyulekha Raman, Krish J Sathaar and Kota Srinivasa Rao was initially set to release on 13 December, 2013 along with ‘Madha Yaanai Kootam’ and ‘Ivan Vera Mathiri’. However, due to several issues the films release was postponed. Producer Rajkumar Sethupathy’s ‘Malini 22 Palayamkottai’ film is directed and written by his wife Sripriya. ‘Malini 22 Palayamkottai’ Tamil movie has music composed by Aravind-Shankar. Confident producer Rajkumar Sethupathy who has complete faith on his wife Sripriya stated – “My wife has decades of experience in cinema and I myself have starred in several films. While I immersed myself in business, she has remained in touch with the industry taking a brief break to take care of our children. However, with the kids old enough to take care of themselves now, she has the time to get back to the other thing she loves: cinema. She’s already directed a couple of films, but this one is different because of the theme. She watched the original and she asked me to watch it too. I knew right away that if we were going to start our own home productions, this movie was the best way to begin.” Sripriya expressing her thoughts about the film said, ‘Malini 22 Palayamkottai’ was the huff that she had bounded within herself. ‘Malini 22 Palayamkottai’ portrays the exploitation against women and revenge from the gender. However, the revenge thriller flick ‘Malini 22 Palayamkottai’ is set to release on 24 January, 2014.

Director: Saravana Rajan Producer: Dayanidhi Azhagiri Written : Saravana Rajan Starring: Jai,Swati Reddy Music: Yuvan Shankar Raja Cinematography: Venkatesh S. Release Date: Jan 24, 2014 Editing: Praveen K. L, N. B. Srikanth Director Saravana Rajan’s debut comedy thriller ‘Vadacurry’ features actors Swati Reddy and Jai in lead role. ‘Vadacurry’ is produced by Dhayanidhi Alagiri with Yuvan Shankar Raja’s music. Bollywood actress Sunny Leone has shaken her legs for ‘Vadacurry’ Tamil film’s dream song with actor Jai in Bangkok. The shooting of the song was held in December 2013. It’s a dream sequence of Jai’s character in the ‘Vadacurry’ where, Sunny will be grooving with him. Sunny was given half-sari, bangles and anklets to portray a typical south Indian look in this song. However, the hot diva loved trying these accessories to shake her legs for her debut film in Kollywood ‘Vadacurry’. ‘Vadacurry’ Tamil movie’s cinematography is handled by Venkatesh. ‘Vadacurry’ team started rolling on floors from August 19, 2013. Interestingly, ‘Vadacurry’ Tamil movie’s music composer Yuvan Shankar Raja is cousin of director Saravana Rajan. Director Saravana Rajan has followed the steps of his tutor Venkat Prabhu in coining food names as title for his movie ‘Vadacurry’ that matched with Venkat Prabhu’s recent release ‘Biriyani’. The charming beauty Anusha Dhayanidhi has made a debut as costume designer in ‘Vadacurry’. Anusha Dhayanidhi has transformed the looks of female lead Swathi in ‘Vadacurry’ Tamil film. It should be noted that ‘Subramaniyapuram’ pairs, who had portrayed good chemistry have joined this comedy entertainer ‘Vadacurry’. However, ‘Vadacurry’ Tamil film is ready to be served on 24January, 2014 to give a punch of full-on comedy with its taste and essence.

When I ask people who work in television why there aren’t more women directing, some privately say they can’t find them. It’s so annoying. I’d like to call on the heads of these companies — Amazon, Netflix, HBO, AMC, etc. — to make it a company mandate to have an equal number of women directing. If you can’t find a woman you like to direct, then damn it, develop the female directors yourselves. The women who can direct are out there. Just call me, I’ll send them over.” Barbara Schock, Filmmaker and chair of the graduate film program, Tisch School of the Arts, N.Y.U.

Mr. President, do you think I haven't asked already? That Director Hancock didn't ask before me?" Bill huffed as the President looked at him across his desk, fingertips together and a slight frown on his face. "The ones we deal with—the ones in charge—will not allow her anywhere near the Middle East. That was a stipulation in order to get her help at all. In fact, when Director Hancock took her on that trip to the Arabian Sea, he was breaking his agreement with them." "Why are they insisting on this?" The President lowered his hands but his gaze remained fixed on Director Jennings' face. "She could do so many things if we could just get her over there to work with our field agents." "Mr. President, the information I have gathered I am not supposed to know. In fact, if her superiors knew that I hold such information, my life might be in jeopardy." "What information is that, Director?" "That there are only a handful of female vampires. They are nearly impossible to turn, as I understand it. And Lissa, well, she isn't like any of the others. You've seen a little of what she can do. They have a name for what she is, Mr. President." "And what is that?" "They call her Queen, sir.

In October 2011, Jocelyn Goldfein, one of the engineering directors at Facebook, held a meeting with our female engineers where she encouraged them to share the progress they had made on the products they were building. Silence. No one wanted to toot her own horn. Who would want to speak up when self-promoting women are disliked?

Meanwhile, in Boston, Running While Female was literally a crime: any woman who dared attempt the Boston Marathon in the 1960s was subject to arrest by the cops or, if your dad was in charge, a beating. “If that girl were my daughter, I would spank her,” race director Will Cloney famously snarled after Kathrine Switzer finagled her way onto the course in 1967.

The art world will be hard hit. After harassment allegations surfaced against a publisher of the contemporary-art magazine Artforum, the Los Angeles Times published a gender tally of art museum directorships. Females hold 48 percent of them—not a promising start for a diversity crusader. There is a silver lining, however: Only three women run museums with annual budgets of more than $15 million, and they’re paid less than their male counterparts. It doesn’t matter if director salaries are commensurate with experience and credentials; sexism is assumed, and impossible to rebut. Two months before the explosion of #MeToo, New York mayor Bill de Blasio anticipated the coming pressures on museum management. The city’s culture funding would henceforth be contingent on the diversity of an arts organization’s employees and board members, he announced.

Take Brooksley Born, former chair of the Commodity Futures Trading Commission (CFTC), who waged an unsuccessful campaign to regulate the multitrillion-dollar derivatives market. Soon after the Clinton administration asked her to take the reins of the CFTC, a regulatory backwater, she became aware of the over-the-counter (OTC) derivatives market, a rapidly expanding and opaque market, which she attempted to regulate. According to a PBS Frontline special: "Her attempts to regulate derivatives ran into fierce resistance from then-Fed Chairman Alan Greenspan, then-Treasury Secretary Robert Rubin, and then-Deputy Treasury Secretary Larry Summers, who prevailed upon Congress to stop Born and limit future regulation." Put more directly by New York Times reporter Timothy O'Brien, "they ... shut her up and shut her down." Mind you, Born was no dummy. She was the first female president of the Stanford Law Review, the first woman to finish at the top of the class, and an expert in commodities and futures. But because a trio of people who were literally en-titled decided they knew what was best for the market, they dismissed her call for regulation, a dismissal that triggered the financial collapse of 2008. To be fair to Greenspan et al., their resistance was not surprising. According to psychologists Hillel Einhorn and Robin Hogarth, "we [as human beings] are prone to search only for confirming evidence, and ignore disconfirming evidence." In the case of Born, it was the '90s, the markets were doing well, and the country was prospering; it's easy to see why the powerful troika rejected her disconfirming views. Throw in the fact that the disconcerting evidence was coming from a "disconfirming" person (i.e., a woman), and they were even more likely to disregard the data. In the aftermath, Arthur Levitt, former chairman of the SEC, said, "If she just would have gotten to know us... maybe it would have gone a different way."12 Born quotes Michael Greenberg, the director of the CFTC under her, as saying, "They say you weren't a team player, but I never saw them issue you a uniform." We like ideas and people that fit into our world-view, but there is tremendous value in finding room for those that don't. According to Paul Carlile and Clayton Christensen, "It is only when an anomaly is identified—an outcome for which a theory can't account that an opportunity to improve theory occurs."13 One of the ways you'll know you are coming up against an anomaly is if you find yourself annoyed, defensive, even dismissive, of a person, or his idea.

The research shows one of the biggest pay gaps is between male and female health professionals. It’s been calculated at 27 per cent, which works out as the difference between £18.50 an hour and £25.33.1 The TUC says a key reason for the size of the pay gap in health is the earnings of the best-paid professionals. Top male professionals in health earn nearly £50 an hour, almost twice as much as top-earning women who earn £24.90 an hour. The TUC has found women working in manufacturing occupations experience the next biggest pay gap at 22 per cent less than men. Women working as managers, directors and senior officials experience the next biggest pay gap at 21 per cent, which works out at men getting £26.80 an hour whilst women get just £21.

Jessica Kim was one of them. A damn shame, she was one of those Asian worker-bee types. Always here past midnight. I heard she worked on Christmas. A real numbers whiz." "True, but she wasn't the best fit for client services. At her level, she needed to be a thinker, not a doer. I know this sounds crass, but her clothes never fit. They were a little too baggy for may taste." "Maybe you should have paid her more so she could hire a tailor." Laughter. "Wasn't she already being overpaid anyway, especially for a female associate?" My stomach lurched. I'd heard enough. My sadness vortexed into pure rage as I stomped over to them. "I gave blood, sweat, and tears for this company." I growled and pointed at Robert, my former group director. "You begged me to cover for you if your wife called when you were wining and dining that female client last year." Robert's face reddened. "But you didn't. I'm going through a divorce now." I went down the line to the next asshole. "Shaun, you tried to expense your escapade at a strip club by saying it was my birthday dinner and HR thought I was in on the scam. And Dan, you transposed all those numbers on the deal sheet and I caught them just before they were sent out, remember? You could have been fired for that, especially for showing up to work high. I went above and beyond for you. I saved your ass." Their jaws dropped. No, they weren't going to schmooze their way out of this one. "I know what you're thinking. How dare she say these things to us? She's just bitter because she was let go. Well, it's partly true. I'm bitter because I've wasted seven years of my life at this company that turned around and stabbed me in the back. If I wasn't leadership material, why didn't a female mentor coach me? Oh right, because there aren't any female execs here. But thank you, sincerely, for the wake-up-call. Now I can take my bonuses and severance and do something better with my time rather than covering for you and making you all richer.

In 1900, George and Clara Morris and their four children, Samuel, Selma, Marcella, and Malvina, left Bucharest, Romania, and boarded a ship for New York City. When they arrived in the United States, they stayed in New York City for a few weeks and then decided to move to Los Angeles, where George wanted to become a director in the movie business. Along the way, in St. Louis, Clara had another baby and died in childbirth. George put the children in an orphanage there before heading on to Los Angeles, where he promised to send for them. The children stayed in the orphanage until the oldest child, Marcella, was able to make enough money to get them all out. She moved them back to New York City, where she became the first Jewish female to hold a seat on the Wall Street stock exchange, where she made millions of dollars that she later gave to Brandeis University. She lived with her sisters in an apartment on Charles Street in Greenwich Village and had a house in Southampton, New York, and somewhere along the way had an affair with J. P. Morgan. Interesting? You bet. But don’t worry about remembering any of this, because it’s 90 percent wrong, which I didn’t find out until years later.

Your title is child of God, not pastor, director, coordinator, associate, assistant, or what other title you have in your role as a female leader.

The moment everyone had been anticipating finally came when, at a quarter past nine in the morning on Monday, September 14, 1987, Parker walked up the trail to the pen at the South Lake location where Lucash had been station. In contrast to the media frenzy surrounding the wolves’ arrival in North Carolina, only Parker and four others - Roland Smith, from the Point Defiance Zoo; John Taylor, the Alligator River refuge director; Michael Phillips; and Chris Lucash - were there to witness the release. According to DeBlieu’s writings and Phillips’s field notes, Taylor and Parker walked up the sodden trail to the pen where the wolves sloshed through mud puddles against the far fence. Parker tossed some deer meat into the enclosure, as if it were any other regular feeding. Then he did something entirely different: he secured the gate wide open with a heavy chain. He and Taylor turned and walked back down the trail to rejoin the others at the Boston whaler that had ferried them to the remote spot. Phillips noted that “Parker uttered, ‘We did it. We let them go.’” Parker would reminisce of the moment later in his life that he couldn’t believe he had “scratched something out of the dirt, and it worked.” But after securing the pen door open, and once Parker’s tension dissipated, it was an anticlimactic moment. The wolves did not sense freedom and rush out. Rather, they stayed in their pen for several days, perhaps wary of the open gate. On the fourth morning, the female wandered out and traveled two miles. It took the male a week to move beyond the safe vicinity of the enclosure that had been his small but secure territory. The first two red wolves to be released back to the wild were free. But what would they choose to do with their freedom?

Carnival Cruise Lines has its own successful way of doing things, which in this case involved creating a musical group called “The Hot Shots!” The word “Fantastic” comes to mind when thinking of this musical group! Each member auditioned separately at the Carnival rehearsal facility in Miami and then rehearsed as a group until they were ready for the big leagues aboard ship. Fortunately for me and my team, which includes Jorge Fernandez, a former guitar player from Cuba and now a top flight structural engineer in the Tampa Bay area, who helps me with much of my technical work; Lucy Shaw, Chief Copy Editor; Ursula Bracker, Proofer, and lucky me Captain Hank Bracker, award winning author (including multiple gold medals), were aboard the Carnival Legend and were privileged to listen to and enjoy, quite by chance, music that covered everything from Classical Rock, to Disco, to Mo Town and the years in between. Talented Judith Mullally, Carnival’s Entertainment Director, was on hand to encourage and partake in the music with her outstanding voice and, not to be left out, were members of the ship’s repertory cast, as well as the ship’s Cruise Director. The popular Red Frog lounge on the Carnival Legend was packed to the point that one of the performances had to be held on the expansive Lido deck. However, for the rest of the nights, the lounge was packed with young and old, singing and dancing to “The Hot Shots!” - a musical group that would totally pack any venue in Florida. Pheona Baranda, from the Philippines, is cute as a button and is the lead female singer, with a pitch-perfect soprano voice. Lucas Pedreira, from Argentina, is the lead male singer and guitar player who displayed endless energy and the ability to keep the audience hopping! Paulo Baranda, Pheona’s younger brother, plays the lead guitar to perfection and behind the scenes is the band’s musical director and of course is also from the Philippines. Ygor, from Israel, is the “on the money” drummer who puts so much into what he is doing, that at one point he hurt his hand, but refused to slow down. Nick is the bass guitar player, from down under New Zealand, and Marina, the piano and keyboard player, hails from the Ukraine. As a disclaimer I admit that I hold shares in Carnival stock but there is nothing in it for me other than the pleasure of listening to this ultra-talented group which cannot and should not be denied. They were and still are the very best! However, I am sorry that just as a “Super Nova” they unfortunately can’t last. Their bright shining light is presently flaring, but this will only be for a fleeting moment and then will permanently go to black next year on January 2, 2020. That’s just the way it is, but my crew and I, as well as the many guests aboard the Carnival Legend, experienced music seldom heard anywhere, any longer…. It was a treat we will remember for years to come and we hope to see them again, as individual musical artists, or as perhaps with a new group sometime in the near future!

Deborah Tedone, Director of Square Pegs/Asperger's Support Group for Adults in Rochester, NY. Deborah says so eloquently what all parents of AS girls need to hear.

Eighty years ago on July 2, 1937 Amelia Earhart, the first female aviator to fly solo across the Atlantic Ocean, disappeared while attempting to circumnavigate the world in a Lockheed Model 10- Electra. Her expedition, sponsored by Purdue University, a public research university located in West Lafayette, Indiana, was brought to an end when this daring woman aviator and her navigator and navigator Fred Noonan disappeared near Howland Island in the central part of the Pacific Ocean. Since that time it was generally assumed that she had crashed at sea and simply disappeared beneath the waves of an unforgiving ocean. All the speculation ended on Sunday July 9, 2017 when Shawn Henry, a former executive assistant director for the FBI, brought world attention on the “History Channel” to a photograph that apparently shows Earhart and Noona on the dock of Jaluit Atoll, overlooking the SS Kaoshu towing a barge, with what looks like the Electra they had been flying. The intensive research and analysis that Shawn Henry and his team conducted presents compelling evidence and leaves no doubt but that Amelia Earhart and Fred Noonan had survived the crash. The team’s research also presents evidence that Amelia Earhart was held as a prisoner of war on the island of Saipan by the Japanese and died while in their custody.

For the Mouse is a creature of great personal valour. For this is a true case -- Cat takes female mouse, male mouse will not depart, but stands threat'ning and daring. If you will let her go, I will engage you, as prodigious a creature as you are. For the Mouse is of an hospitable disposition.

As I watched Abdellatif Kechiche’s “Mektoub, My Love: Intermezzo,” I kept wondering how it would be received by the women on the main jury, including the directors Kelly Reichardt and Alice Rohrwacher. What would they make of the festival giving one of the prestigious 21 slots in the main competition to this three-and-a-half hour ode to the female rear end? In 2013, Kechiche won the Palme d’Or for “Blue Is the Warmest Color,” sharing the prize with its stars, Léa Seydoux and Adèle Exarchopoulos. It was clear then that he had a thing for women’s posteriors, a fixation that has reached its nadir in this epic of jittering, bopping butt.