Women Born In The 1960s

"We should criticise ourselves, but we should criticize to build. We should see a problem and be angry about it and innovate and seek to find the solution to the problem because we know why we want to do it. Because we know that this country must work."

"Success in financial inclusion entails reaching these users with products that can significantly improve financial lives."

"Financial services are the lifeblood of an economy, enabling households and businesses alike to save, invest, and protect themselves against risk."

"We will not stop until every Nigerian girl-child has found their voice and found their pocket."

"There are Challenges everywhere you must have Tenacity; you must have the strength of character not to cheat."

"When you are pursuing your dreams and trying to leave a legacy, you will find help."

"As a people, we have the power of choice. We get to choose who we are, what we become, and what we do."

"Sometimes you have to take a hard decision and when you take such a decision, you have to stand by it. It’s not everybody who sees what you are seeing."

"I come from a place where there are opportunities staring you in the eye, but it's looking for the people who have the heart and the courage to do it and do it right."

"Here we are, sitting in tuxedos and evening gowns, wearing borrowed jewels, and everyone's watching Shrek take a poot in the water."

"For a long time, the movie [Shrek] didn’t know what it wanted to be. One problem was unavoidable: Chris Farley had died, and the story had been geared around him, so when he went, the story kind of went with him. It went through an upheaval while they tried to find the right tone for it. I think they were really close to shelving the project when a few of us came into story to try and find a tone that we could work with. When Kelly Asbury moved on to Spirit: Stallion of the Cimarron I became head of story, along with Randy Cartwright. Along with Andrew Adamson, who stayed on as director, we started pulling little pieces together out of what remained, and part of the way through, Jeffrey [Katzenberg] decided that I should be directing. A few months later, we started production."

"I came into DreamWorks looking to direct. I was hoping to go through story as a way toward directing, because that’s how it worked at Disney, story people became heads of story, and heads of story became directors. And they said, ‘Right now we don’t have a lot of story, but we have visual development,’ and I said, ‘Good, I paint!’"

"On ‘Shrek’ we didn't try to figure out how to make adolescents laugh. You have to use yourself as the best judge and use your own instincts. We figured if we laughed at it, chances are good someone else would too."

"This city is a completely female city. Female town. Beijing is male. All rough and politics. Shanghai is more delicate. Money talks. Beautiful. I had enough rough. I need details. Specially because (I am) a lady. I need city."

"When I say ‘gender’ you think ‘women’. And it is true that most gender history is written from a woman-centred perspective, but much research covers both men and women and importantly the relationships between the two."

"[A]rchitecture is more than a stage for the acting out of these performances. It offers a space for other social groups and kinds of social interactions. It is also important to remember that in examples such as the country house it was home to a large number of residents representing a variety of interests."

"I am interested in how we interrogate architecture in terms of its social functions and meanings. Architectural historians writing on eighteenth and early nineteenth century Britain have tended to see social history as the answer to this question. But the social history of architecture or the histories of specific social groups which operated in and around the architecture or building(s), or indeed the spaces created by them or for them, provide only a backdrop or loose historical context."

"The purpose here is to demonstrate the diversity of classical formulae which appeared in architectural design, and if we look at classical architecture as a repertoire of forms rather than statements of specific design credos we can challenge teleological constructions of stylistic histories. The method of grouping the architecture from given periods of time under general stylistic labels has, without doubt, been the backbone of the discipline of architectural history. And when used skilfully and carefully it can provide useful punctuation marks in the lengthy and complex narrative that is the subject-matter of the history of western building. Yet it is only one of many tools with which to explore social and cultural contexts."

"If style is anything more than formal analysis or a description of the ornamentation of a building it must surely offer or represent a specific set of ideals from the moment of its production."

"Style remains a principal concern of the histories of British architecture from the sixteenth century to the early nineteenth century, if not up to the present day. Architecture and style are interlinked to the point that style can almost be believed to contain the essence of architecture, but if this were the case then style would constitute the subject of architectural history. Quite clearly it does not."

"In architectural history then the focus on the biography either of an architect or sometimes a patron separates ‘architecture’ from the function of the building, the theory of the processes of architecture and the broader social and cultural significance. To this end architecture is presented in a kind of historical cul-de-sac divorced from any contemporary or theoretical meaning it may have."

"Histories based on biographies can present a one-dimensional image of the architects involved, often inflating what was a portion of their existence, interests or social and cultural significance, making architecture appear to be their driving force when in reality it may have been merely one of several interests."

"The influence of literary theory on its related disciplines has prompted much debate about the notion of ‘authorship’. Yet the attraction of exploring architecture, or more specifically a building, through the life of its architect (author) remains a significant force in the construction of its histories. This is particularly the case when the architect has been identified as a major figure in the evolution of the architectural history. Conversely, buildings without architects are pushed to the sidelines of history."

"[B]iography is an essential part of human memory. We think about ourselves in terms of what we have done – our identity is constructed around our past. Are history and biography linked or just two parallel strands? Biographers and historians make choices about how to frame their subject, they draw together fragments to present a possible glimpse of the unattainable whole. An historian might have a thesis or method which drives his/her enquiry whereas a biographer has, perhaps, a particular view of an individual they wish to present. Neither presents the truth, only an interpretation."

"Architecture differs from a work of art, which can be displayed in different settings and the subject-matter, form and meaning will remain unchanged. The physicality of any built structure can be altered over time as additions and alterations are made. Moreover, a building or work of architecture can change its function as it meets the different demands of its occupants, although its exterior appearance may be unaltered. And its meaning may change depending on the nature of the context. This reveals some of the problems of interpreting historic architecture from a modern-day perspective as the physical changes and different cultural contexts transform the object."

"Architectural History is more than just the study of buildings. Architecture of the past and the present remains an essential emblem of a distinctive social system and set of cultural values, and as a result it has been the subject of study of a variety of disciplines."

"‘Architecture’ may at first appear to be a more fixed and finite term. It has a threedimensional, tangible, useable form. But questions remain about what can be considered architecture and what cannot, and by this I mean that we usually understand architecture to incorporate aesthetic as well as functional consideration into its structure. Anything that does not fall into this category can be described as ‘just a building’. This may seem too simple. Can architecture be determined solely by the use of refined architectural style – high or polite architecture instead of vernacular?"

"The invisibility of women in canonical histories might lead us to believe that women have no history. Surely then a female history is an essential tool in the emancipation of women? This is partly because if we have no history we are ‘trapped’ in the present where oppressive social relations can continue unchallenged. Furthermore, history can be seen as evidence that things can and do change."

"There is struggling inside, the people, but they are really happy. And I’m not worried about what I am seeing in the street, protesting, many demonstrations—they are trying, and they want to make sure there is freedom."

"I want to say the first thing that Qaddafi, he thinks that we are six million human beings, nameless. That’s how Qaddafi is looking at us. In our country, when Qaddafi’s regime, there’s no names, can mention except Qaddafi’s names. No heroes, even athletes or singers. We knew after the revolution that there was an office to try to disappear the stars. If there is any names, singers, we have the experience that there were singer idol in Beirut, big event between all Arab countries, and he won and after that when he come back to Libya, and we didn’t hear about him, he disappeared. So, now I want to tell you that the whole population needs rehabilitation from Qaddafi’s regime. Comprehensive repression for all the people, all the details, chaos, turmoil that he tried to put the country through during the 42 years, so he tried consolidating power in his hands and demands the various state institutions."

"All the people are free to say what they want to say, but we have to learn, there’s always limits. You have to respect the privacy of the others; you have to respect the other opinion. Because during 42 years, there is just one thinking, Qaddafi’s thinking, and Qaddafi’s theory. So, it is difficult to let the people to respect another opinion. Everything is new."

"These are people who want to foil elections... has been always defiant, and always will be despite the pain and fear. It will succeed."

"They knew that women were very effective and very strong in this revolution, but they think that now, the role is for the man."

"I was quite the media darling."

"Madhuri has kept the tradition of classical dance in cinema alive. Be it Devdas's 'Kahe Ched Mohe' or dance sequence of DTPH , she has performed brilliantly."

"It has been more than 15 years but her dedication towards dance is the same. She grasps quickly and is a genius dancer. Her expressions are just perfect."

"I worked with her for the first time in 1997 for a dance sequence where actor (Shah Rukh) is playing the drum in another room and she dances on those beats."

"Madhuri is an excellent dancer. She is in the same league with actresses like Waheeda Rehman and Meena Kumari as far as dancing is concerned. She dances with a lot of grace. I think she is the best dancer in Indian cinema after Waheeda Rehman. She reminds me of her,"

"Nightingale of Parliament."

"Madhuri was crowned the queen of Bollywood and her star status reached a level where she was called the ‘female Amitabh Bachhan’. Her stage shows sold out and fans flocked to her shootings to catch a glimpse of the ultimate star. She has ever been called the peace maker between India and Pakistan as a Pakistani official joked to a national newspaper on his visit to India "You can keep Kashmir, give us Madhuri"."

"My family gives me enough security and warmth. I don’t have to look for it outside! After achieving so much success and fame I’m apprehensive about people’s motives. I want to be sure that people want to be friends with me and not my fame!"

"I adore the concept of being in love with one guy and spending the rest of my life with him."

"When Hussainji narrated the script [on Gaja Gamini] to me, I couldn´t understand it. And I told him so. So, he worked out a storyboard and then I could visualize the whole film. You know the film is like a painting on celluloid."

"I have never been a part of the numbers game. We are not racing horses, who should be numbered. Either the work you do is good or bad."

"I find it funny to praise myself, but I think I am beautiful, just like Chandramukhi."

"Acting is a bit like cycling. Once you’ve got the hang of it, you just peddle on."

"Depend on yourself and you will never be let down."

"The tendency in the media is to portray everyone in the film industry as sex-starved creatures. Please spare us."

"Good films flop, atrocious films do well. Uncertainty is the only certainty in this business."

"It's so ironical. When you finally achieve recognition, you hide behind dark glasses."