He's trying to keep body and soul together, all the while dreaming of opening a jazz club.
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They're easy to compare to Parasite's Kim family, who live in a half-basement apartment and fold pizza boxes to make money and keep body and soul together.
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This is obviously fabulous news for those workers who deserve to earn enough money that they don't have to rely on public assistance just to keep body and soul together.
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McKenzie and Foster turn in devastating performances, working from a screenplay that touches the ways people on the margins form communities to keep body and soul together in a world that does not want them.
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I'm of the generation that had the privilege to attend an American university during the 1960s along with quite a few Iranian students, and to work weekends at a restaurant with several of them who, like me, needed a bit of income to keep body and soul together.
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Today's universities are in danger of being turned from temples of learning, where scholars introduced their young disciples into the mysteries of their calling, into teaching factories run by number-obsessed managers and divided into two classes: brand-name academics who are always on some junket and part-time teachers who are desperately trying to finish their PhDs while making enough money teaching to keep body and soul together.
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Billy Merson (1879-1947) was an English music hall performer and songwriter. He began his career while working in a lace-making factory, and doing shows in the evenings. It took some time until he could make a living from his stage work. "For five or six years on the stage, I survived on a salary hardly enough to keep body and soul together", he said.
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On the train to his new job, he meets an English family, the Nicholsons, also traveling to Barcelona. The daughter, Molly, becomes infatuated with Garrett. His feelings towards her are more ambiguous. The next player in this drama is Pepita. A fiery and lovely poor woman, Pepita works in a brothel since “I can’t keep body and soul together on what is paid by shoe stores.” Garrett meets her when he and his new coworkers end a drunken debauch by visiting her place of employment.
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O'Flanagan proposed a counter-motion to the effect that Russell's motion should be rejected without radical land reform, and went on to denounce the war and conscription. > In O’Flanagan’s view, Russell’s plea for an increase in grain production > meant no more than a small respite in the case of shortage. ‘Instead of > commencing to starve on the 5th of January 1917, we shall be able to keep > body and soul together for fifteen days more.’ > Clearly O’Flanagan did not expect his proposal that a million a day be > devoted to tillage in Ireland and England would pass into effect.
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In his autobiography, The Golden Rule In Business, Nash wrote; "For four or five years I wandered about the Middle West, doing odd jobs here and there... I never cared two straws which way a freight train was headed... or what it was I did to keep body and soul together." He lugged bricks, did plastering work, labored in a broom factory, and with a bridge-construction gang—all the while studying Thomas Paine and Robert Ingersoll, endeavoring to bolster his contempt for religion. Eventually Nash found his way back to Detroit, where, with the help of some locals, he opened a laundry, and then married Y.W.C.A. boarding school superintendent, Maude Lena Southwell, calling her his "life partner." Described by Nash as being "possessed by a strong, robust faith," under Maude's influence, Nash came to view his arguments as being not against Christianity itself, but against its misinterpretation.
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Shaw said he wrote the play "to draw attention to the truth that prostitution is caused, not by female depravity and male licentiousness, but simply by underpaying, undervaluing and overworking women so shamefully that the poorest of them are forced to resort to prostitution to keep body and soul together." He explained the source of the play in a letter to the Daily Chronicle on 28 April 1898: > Miss Janet Achurch [an actress and friend of Shaw’s] mentioned to me a novel > by some French writer [Yvette by Guy de Maupassant] as having a dramatisable > story in it. It being hopeless to get me to read anything, she told me the > story... In the following autumn I was the guest of a lady [Beatrice Webb] > of very distinguished ability—one whose knowledge of English social types is > as remarkable as her command of industrial and political questions. She > suggested that I should put on the stage a real modern lady of the governing > class—not the sort of thing that theatrical and critical authorities imagine > such a lady to be.
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