I don't know of a single economist who disagrees that when you raise the minimum wage, you kill jobs for the poor.
An economist is an expert who will know tomorrow why the things he predicted yesterday didn't happen.
I'm not an economist and we all know economists were created to make weather forecasters look good.
We want an economic team, Paul Krugman and Robert Kuttner, Joseph Steiglitz's people and others, who say, you know what? We're sophisticated economists but we're concerned about poor and working people.
It's clear that policymakers and economists are going to be interested in the measurement of well-being primarily as it correlates with health; they also want to know whether researchers can validate subjective responses with physiological indices.
We know that the nation that goes all-in on innovation today will own the global economy tomorrow. This is an edge America cannot surrender.
People need to know that they have all the tools within themselves. Self-awareness, which means awareness of their body, awareness of their mental space, awareness of their relationships - not only with each other, but with life and the ecosystem.
Consciousness, when it's unburdened by the body, is something that's ecstatic; we use the mind to watch the mind, and that's the meta-nature of our consciousness; we know that we know that we know, and that's such a delicious feeling, but when it's unburdened by biology and entropy, it becomes more than delicious: it becomes magical.
When I write music, I know a lot of artists like Taylor Swift or Ed Sheeran tend to write from personal experience. I write from personal experience, of course, but I don't limit myself to that.
My own musical ambitions were born when I was five, watching the Ed Sullivan Show on TV. When Elvis Presley burst on to the screen, singing 'Don't Be Cruel,' I felt my first sexual thrill, though I didn't know what it was at the time.
When I was 26, I wrote my first mystery, 'The Thomas Berryman Number', and it was turned down by, I don't know, 31 publishers. Then it won an Edgar for Best First Novel. Go figure.
The Edge... there is no honest way to explain it because the only people who really know where it is are the ones who have gone over.
I had a newspaper in Flint, Michigan called the 'Flint Voice,' and so it was a, you know, underground, alternative newspaper that I edited and put out for about ten years.
Sometimes when you're heavy into the shooting or editing of a picture, you get to the point where you don't know if you could ever do it again.
Once you sign on as an actor, you know, you don't go to the editing room, you don't see how they cut, you don't see how they score, you don't see how they cast the rest of the movie.
I don't know - I haven't seen any of my movies after I finish them. I leave the editing room; I don't go back.
I'm very lucky in that my agent and my editors know better. They don't push me. Because I don't take that well.
I felt like that was my calling. I just didn't know how I was going to get my voice out of Edmonton, but I definitely knew that music was what I was going to do with my life.
Living in Edmonton feels so calm, but there is still so much to experience. I know I can find something to do if I want to have fun.
I don't look to find an educated person in the ranks of university graduates, necessarily. Some of the most educated people I know have never been near a university.
