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Equal Sweetener Sucralose , Sugar Substitute 9/2014 by Mike Mozart of TheToyChannel and JeepersMedia on YouTube.
One of the most persistent barriers to women’s success at work and to economic growth, unequal pay, will be actively challenged by a new global partnership, the Equal Pay International Coalition (EPIC).
With the launch of EPIC, the International Labour Organization (ILO), UN Women and the Organization of Economic Cooperation and Development (OECD) are bringing together a diverse set of actors at the global, regional and national levels to support governments, employers and workers and their organizations, and other stakeholders, to make equal pay between women and men for work of equal value a reality.
Read More: www.unwomen.org/en/news/stories/2017/9/press-release-coal...
Pictured: Scenes from the Equal Pay International Coalition (EPIC) launch event held during the the 72nd Session of the United Nations General Assembly. 18 September, 2017.
Photo: UN Women/Ryan Brown
Those hands belong to one of the controversial persons in Algeria. She was not accepted because of her music and lyrics. Cheikha Rimitti , however, didn’t have an easy life. Orphan from her childhood, she worked like a dancer with some fantasy of her native town Saîda. That folkloric background traced her life forever. Thus, she became a Raî singer. Her lyrics were not convenient for the majority of people because they talked about street life, love, and many Algerian taboo subjects.
For all these reasons and may be for more, Cheikha Rimitti was not accepted by her skin men. But, in all Algerian artistic history, there is no woman represented her culture and tradition then her. Henna in her hands, kohl in her eyes, always with a traditional west dress ( Oran), traditional Algerian tattoo ( wechame) and old traditional jewelleries were her identity card. Her Algerian identity card.
I must admit that I am not a fun of her lyrics too. However, I have a big admiration of her personality and the way she conveyed her life. How she was able to stand in front of all. She was brave , in my opinion, and strong as all Algerian women.
Sawassia ( alike) we are and we are going to be.
Peace.
equal pay day 2016 Auftaktveranstaltung zum Kampagnenstart mit Bundesministerin Manuela Schwesig (BMFSFJ) in Berlin
Senior U.S. Army Africa NCOs recently conducted an on-the-ground training observation and exchange of ideas with their counterparts in the United Republic of Tanzania.
At the invitation of the Tanzania People Defense Force Land Forces, Army Africa Command Sgt. Maj. Gary J. Bronson and Equal Opportunity Officer, Sgt. Maj. Osvaldo Del Hoyo, with most of the TPDF’s noncommissioned and warrant officer corps to discuss the importance of leadership development at the NCO level as key to building force cohesion and soldier confidence in their leadership.
“They’re highly disciplined NCOs, and they really want to develop the corps,” Del Hoyo said.
The Army Africa NCOs toured the Tanzanian Peace Keeping Center to observe training activities and facilities, and share their insights on possible approaches to improve training.
They also traveled to the African Contingency Operations Training and Assistance site at Msata to observe a TPDF battalion a gearing up for deployment to peacekeeping operations in Rwanda.
Bronson and Del Hoyo were briefed on the battalion’s upcoming mission, its readiness and a variety of training issues and concerns. The Army Africa NCOs observed each training event at the ACOTA, and ended the day with a roundtable discussion with TPDF officers and senior NCOs.
“This was time well spent both in terms of observing the TPDF training activities in person, and in building our partnership for peace and stability with the land forces leadership,” said Bronson.
The Army Africa NCOs ended their trip with a visit with Col. Tim Mitchell, senior defense official and defense attaché, and Lt. Col. Kevin Balisky, Office of Security Cooperation, and other military leaders at the American Embassy in Dar es Salaam to discuss future engagements.
“I’ll be traveling there again in September to assess their enlisted development program,” said Del Hoyo.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
ITU Council 2017 - participants showing their support for the UN Women/ ITU Equals partnership. ©ITU/I.Wood
Time now, ladies and gentlemen, for The Real Story of Thanksgiving---->
On August 1, 1620, the Mayflower set sail. It carried a total of 102 passengers, including forty Pilgrims led by William Bradford. On the journey, Bradford set up an agreement, a contract, that established just and equal laws for all members of the new community, irrespective of their religious beliefs. Where did the revolutionary ideas expressed in the Mayflower Compact come from? From the Bible. The Pilgrims were a people completely steeped in the lessons of the Old and New Testaments. They looked to the ancient Israelites for their example. And, because of the biblical precedents set forth in Scripture, they never doubted that their experiment would work.
Now, you know the usual story of Thanksgiving: They landed. They had no clue where they were, no idea how to feed themselves. The Indians came out, showed 'em how to pop popcorn, fed 'em turkey, saved 'em basically -- and then white European settlers after that basically wiped out the Indian population. It's a horrible example. Not only is that not true, here is the part that's been omitted from what is still today taught as the traditional Thanksgiving story in many schools. "The original contract the Pilgrims had entered into with their merchant-sponsors in London called for everything they produced to go into a common store,' when they got here, 'and each member of the community was entitled to one common share. All of the land they cleared and the houses they built belong to the community as well.
"They were going to distribute it equally. All of the land they cleared and the houses they built belonged to the community as well. ... [William] Bradford, who had become the new governor of the colony, recognized that this form of collectivism was as costly and destructive to the Pilgrims as that first harsh winter, which had taken so many lives. He decided to take bold action. Bradford assigned a plot of land to each family to work and manage, thus turning loose the power of the marketplace. ... Long before Karl Marx was even born, the Pilgrims had discovered and experimented with what could only be described as socialism,' and it had failed" miserably because when every put things in the common store, some people didn't have to put things in for there to be, people that didn't produce anything were taking things out, and it caused resentment just as it does today. So Bradford had to change it.
"What Bradford and his community found was that the most creative and industrious people had no incentive to work any harder than anyone else, unless they could utilize the power of personal motivation! But while most of the rest of the world has been experimenting with socialism for well over a hundred years – trying to refine it, perfect it, and re-invent it – the Pilgrims decided early on to scrap it permanently. What Bradford wrote about this social experiment should be in every schoolchild's history lesson. If it were, we might prevent much needless suffering," that happens today and will happen "in the future. 'The experience that we had in this common course and condition, tried sundry years...that by taking away property, and bringing community into a common wealth, would make them happy and flourishing – as if they were wiser than God,' Bradford wrote.
"'For this community (so far as it was) was found to breed much confusion and discontent, and retard much employment that would have been to their benefit and comfort. For young men that were most able and fit for labor and service did repine that they should spend their time and strength to work for other men's wives and children without [being paid] that was thought injustice.' ... The Pilgrims found that people could not be expected to do their best work without incentive. So what did Bradford's community try next? They unharnessed the power of good old free enterprise by invoking the undergirding capitalistic principle of private property. Every family was assigned its own plot of land to work and permitted to market its own crops and products. And what was the result?"
Here's what Bradford wrote, the governor of the Massachusetts colony. "'This had very good success,' wrote Bradford, 'for it made all hands industrious, so as much more corn was planted than otherwise would have been.' Bradford doesn't sound like much of a Clintonite, does he?" or an Obamaite, if I can update it. "Is it possible that supply-side economics could have existed before the 1980s? ... Anyway, the pilgrims found "In no time, the Pilgrims found they had more food than they could eat themselves. ... So they set up trading posts and exchanged goods with the Indians. The profits allowed them to pay off their debts to the merchants in London. And the success and prosperity of the Plymouth settlement attracted more Europeans and began what came to be known as the 'Great Puritan Migration.'"
Very few people have heard this story or have had it taught to them -- and the "thanks" was to God for showing them the way. John Adams and George Washington wrote about their reminisces and their thoughts on the first Thanksgiving and the notion it was thanks to God. It was an entirely different story than is being taught in the schools. It's been muddied down, watered down all these years -- and now it's been hijacked by the multicultural community -- to the point that the story of Thanksgiving is the Pilgrims were a bunch of incompetents and were saved only by the goodness of the Indians, who then were wiped out. And that's what kids are being taught today -- 'cause, of course, you can't mention the Bible in school, and that's fundamental to the real story of Thanksgiving.
Fabio Fontana, Vice-President and Managing Director, Middle East, Hewlett Packard Enterprise, United Arab Emirates and Omar bin Sultan Al Olama, Minister of State for Artificial Intelligence of the United Arab Emirates during the Session: Equal Opportunity: Artificial Intelligence at the King Hussein Bin Talal Convention Centre during the World Economic Forum on the Middle East and North Africa, Jordan 2019. Copyright by World Economic Forum / Faruk Pinjo
Hazel Hunkins Hallinan (2nd from right), a veterans of the 1913 women’s suffrage march that was broken up by violence, leads a pro-Equal Rights Amendment march in Washington, D.C. August 27, 1977—the 57th anniversary of the passage of the 19th Amendment giving women the right to vote.
From left to right: Rep. Margaret Heckler (R-Mass.); Rep. Elizabeth Holtzman (D.-N.Y.); Elizabeth Chittick, president of the National Women’s Party; Hallinan; and Midge Costanza, President Jimmy Carter’s assistant for public liaison.
March organizers urged women to wear white similar to the women who marched 64 years before.
The demonstration was intended to give a renewed spark to the movement to pass the Equal Rights Amendment.
The amendment passed Congress in 1972, but the drive was stalled as only 34 of 38 states necessary had passed it. Congress put a seven-year deadline on passage.
The march was led by Hallinan, a veteran fighter for women’s rights, who once chained herself to the White House fence when seeking passage of the 19th Amendment.
The drive to ratify the ERA failed within the time prescribed as only one more state legislature was to pass the Amendment, even after Congress extended the deadline to June 30, 1982.
Subsequently several states repealed their ratification, although it is not clear that a state can rescind a ratification vote.
In the 2010s, due, in part, to a revived feminist movement and the Me Too movement, interest in getting the ERA adopted was renewed.
In 2017, Nevada became the first state to ratify the ERA after the expiration of both deadlines, and Illinois followed in 2018.
On January 15, 2020, Virginia's General Assembly passed a ratification resolution for the ERA in a 59–41 vote in the House of Delegates and 28–12 vote in the Senate, and voted again for each other's resolutions on January 27, 27–12 in the Senate and 58–40 in the House, claiming to bring the number of ratifications to 38.
However, experts and advocates have acknowledged legal uncertainty about the consequences of Virginia's ratification, due to the expired deadlines and the five states' revocations.
Opposition to the ERA centered around the military draft.
Fringe arguments included suggesting that alimony would be eliminated. The issue of bathrooms also came up with opponents saying that same-sex bathrooms would be an outcome of the Amendment. Opponents also claimed it would lead to abortion on demand.
The language was first proposed in 1923 by feminist Alice Paul. The amendment that passed Congress reads:
Section 1: Women shall have equal rights in the United States and every place subject to its jurisdiction. Equality of rights under the law shall not be denied or abridged by the United States or by any State on account of sex.
Section 2: Congress and the several States shall have the power to enforce, by appropriate legislation, the provisions of this article.
Section 3: This amendment shall take effect two years after the date of ratification.
The lack of a Constitutional amendment providing equality leaves women as a second class since the Constitution does not provide equality anywhere in its test. Laws that have been passed prohibiting discrimination and providing equal pay are held to lesser standards than Constitutional protections. Further, laws can be changed as the political winds shift.
For more information and related images, see flic.kr/s/aHsjDVEVCy
Photo by Rosemary Martufi. The image is courtesy of the D.C. Public Library Washington Star Collection © Washington Post.
WTSA-16 participants showing their support for the UN Women/ ITU Equals partnership.
© ITU/ J. Marchand
National March on Washington for Lesbian, Gay, and Bi Equal Rights and Liberation in front of the White House at 1600 Pennsylvania Avenue, NW, Washington DC on Sunday afternoon, 25 April 1993 by Elvert Barnes Photography
Christina Hayworth, Veteran Activist
en.wikipedia.org/wiki/Christina_Hayworth
25 April 1993 LGBT March On Washington at Wikipedia at en.wikipedia.org/wiki/March_on_Washington_for_Lesbian,_Ga...
Elvert Barnes MARRIAGE EQUALITY ongoing project at elvertbarnes.com/MarriageEquality.html
Der Sinn dahinter ist anscheinend, die Öffentlichkeit darauf zu sensibilisieren, dass Frauen in der Schweiz durchschnittlich 19 % weniger verdienen als Männer. (www.equalpayday.ch)
Morgen (am 8. März) ist zudem Tag der Frau und ich hör's schon, wie Frauen sich doch nicht so anstellen sollen, sie seien doch schliesslich per Gesetz gleichberechtigt. Und ohnehin seien selbst schuld daran, wenn sie weniger verdienen, was würden sie auch immer schlecht bezahlte Berufe wählen, in denen sie dann auch noch Teilzeit arbeiten und es fehle ihnen überhaupt nur an Ehrgeiz. Es ist zum Kotzen!
Natürlich wäre es schön, wenn solche Aktionstage nicht mehr nötig wären und wir den Geschlechterschwachsinn endlich hinter uns lassen könnten. Solange Menschen aber aufgrund ihres Geschlechts diskriminiert werden und Gleichheit nur für Gleiche gilt, haben solche Tage durchaus ihre Daseinsberechtigung.
ITU Council 2017 - participants showing their support for the UN Women/ ITU Equals partnership. ©ITU/I.Wood
UUSC volunteers and members get an inside view of UUSC partner Equal Exchange's production facilities on its "roaster tour" in October 2008.
The UUSC Coffee Project is a collaboration between UUSC and Equal Exchange, a worker-owned, fair trade company based in West Bridgewater, Massachusetts.
Through the Coffee Project, UUSC supporters can buy fair trade coffee, tea, sugar, chocolate bars, and other tasty treats in bulk for their social action groups or in their congregations, schools, and communities.
uusc.org
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
One of the most persistent barriers to women’s success at work and to economic growth, unequal pay, will be actively challenged by a new global partnership, the Equal Pay International Coalition (EPIC).
With the launch of EPIC, the International Labour Organization (ILO), UN Women and the Organization of Economic Cooperation and Development (OECD) are bringing together a diverse set of actors at the global, regional and national levels to support governments, employers and workers and their organizations, and other stakeholders, to make equal pay between women and men for work of equal value a reality.
Read More: www.unwomen.org/en/news/stories/2017/9/press-release-coal...
Pictured: Scenes from the Equal Pay International Coalition (EPIC) launch event held during the the 72nd Session of the United Nations General Assembly. 18 September, 2017.
Photo: UN Women/Ryan Brown
Hubby just loves my custom made bags/pouches. This one holds 20 Equal packets for our 16 day trip to China. He wasn't sure he would be able to find Equal for his tea/coffee over there. It sure came in handy! Note the manly yarn color ;P
Abbaye 'aux Dames'
Charente Maritime, Poitou Charentes
The Abbey of Sainte-Marie-des-Dames (French: Abbaye aux Dames de Saintes) was the first Benedictine abbey for women in Saintes in Charente-Maritime in France. It was founded in 1047 by Geoffrey II, Count of Anjou. One of its abbesses was Agnès de Barbezieux (1134-1174), whose relative, Eleanor of Aquitaine, was a generous donor to the abbey.
Madame de Montespan was educated here.
It is located next to the town's Arch of Germanicus and was classified a monument historique in 1948.
The Abbey of Sainte-Marie-des-Dames is a former Benedictine abbey located in Saintes, third largest city of the department of Charente -Maritime, France. The abbey church is characteristic of Romanesque Saintonge style. It is distinguished by the presence of a tower with a square base supporting a circular tower flanked by turrets at the corners. His coronation scales reversed says in pinecone reminds the Church Notre- Dame la Grande in Poitiers.
historical
The first abbey church was built in the first half of the eleventh century. The first is based on building a basilica. Of smaller dimensions than the present church, the original sanctuary consists of a nave divided into three naves of equal height, covered with wood frame. A campaign to rebuild the church operates under the Agnes Barbezieux (1134 - 1174) Abbot. Two successive campaigns completely change the structure of the sanctuary. Thus, the nave was refurbished so no longer form a single vessel. The gutter walls are reinforced by strong pillars to replace the original structure by two domes on pendentives, on the model of those which rise simultaneously Abbey Sablonceaux or at the Angoulême Cathedral. The western span is prolonged and building facade screen is started. The pillars are reinforced cross, the latter being covered with a dome on trunks intended to support the weight of the tower as you begin to build. Finally, in the second half of the twelfth century, a new working season saw the completion of the west facade and replacing the initial bedside by an apse preceded by a long straight bay. In the course of the thirteenth century, when new techniques that appear vaulting, the braces are fitted with cross vaults. In the fifteenth century, the north transept chapel was replaced by a two-span, while buttresses were built to prevent collapse of the walls. The church suffers mutilation during the wars of religion, then two losses plaguing the abbey during the seventeenth century. The two domes of the nave collapsed and are not rebuilt ( pendants, remained in place, however, possible to get an idea of their dimensions). The abbey church is a historical monument in 1846. A first restoration campaign is conducted from 1924 to 1939, a second in the 1970s and 1980s. The abbey is a former Benedictine abbey located in Saintes, third largest city of the department of Charente -Maritime, France. The abbey church is characteristic of Romanesque Saintonge style. It is distinguished by the presence of a tower with a square base supporting a circular tower flanked by turrets at the corners. His coronation scales reversed in pinecone reminds the Church Notre- Dame la Grande in Poitiers.
The western facade is characteristic of Saintonge Romanesque style. This tripartite facade screen, although mutilated during the wars of religion and substantially amended during the campaign to restore the years 1924-1939, including a portal maintains four arches. The keystones show old of the Apocalypse, the kings of the Old Testament - including David, recognizable by his harp - or even animal representations (lions, birds, two of which drinking from a cup, likely referring to the Eucharist). The second arch is decorated with symbols of the four evangelists surrounding the paschal lamb, Christ symbol.
The lower coving is distinguished by its representations of adoring angels, two of whom carrying a cloud arises where the hand of God, which made a gesture of blessing towards the faithful entering the sanctuary.
The portal is flanked by two arches where the theme of redemption and final judgment dominate. The arcade is right and the Last Supper, while the left shows including Christ welcoming souls. Unusually, they are set forth in feminine traits, which can be explained by the nature of the abbey.
Originally, a long frieze seems to have run along the facade, above the arches of the first level. It is probably during the wars of religion or during the Revolution.
An epitaph in Latin raised in 1675 by Dom Claude Estiennot indicates the name of the probable mastermind this facade, an artist named Béranger.
WP.
Frauenarbeit ist MehrWert
Der Equal Pay Day am 19. März 2016 markiert den Tag, an dem Frauen den Lohn bekommen haben, den sie bis Ende letzten Jahres verdient hätten, würden sie wie Männer bezahlt werden. DIE LINKE will Betriebe verpflichten, Entgeltdiskrimi-nierung zu beenden - bei Sanktionsandrohung.
Linke aus der Bundestags-fraktion und dem Berliner Abgeordnetenhaus beteiligten sich neben vielen Frauen und Männern aus Verbänden, Gewerkschaften und Parteien an einer Kundgebung zum Equal Pay Day. Die Fraktionsvorsitzende Sahra Wagenknecht sprach dazu und prangerte dabei die Sozialpolitik zum Nachteil vieler Frauen scharf an.
Capital Hotel
River Market District
Little Rock, Arkansas
Pulaski County
Hmmm, I doubt anyone is going to follow my train of thought on that title, but whateve.
This was an amazing location. Ward and I were lucky enough to have about ten minutes of shooting time up here. Mr. Only Six Words Jeff E. helped me with tilt-shifting. Big thanks for his help!! I still doubt this is up to his standards, but I hope you guys like!