Starting in , the Living Wage and Democracy Campaign of Swarthmore College began as small meetings between students and staff to voice concerns about their wages. Over the next two years the Living Wage and Democracy Campaign voiced concerns to the university administration. While the campaigners were pleased with this first result, they believed the college still had a long way to go. The college president, Al Bloom created the Ad Hoc Committee to help learn what the living wage was and released a committee report.
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In the report suggested an hourly wage, childcare benefit, health coverage for employees and families. The Living Wage Campaign at the University of Virginia in Charlottesville , Virginia , composed of University students, faculty, staff, and community members, began in during the administration of University President John Casteen and continues under the administration of President Teresa Sullivan.
A professor was arrested on the first day of the protest. The 17 students were arrested after 4 days of protest and later acquitted at trial. Beginning in , the campaign has staged a series of rallies and other events to draw attention to the necessity of the living wage for UVA employees. They have also met with members of the administration numerous times, including with the president. On February 8, , the Campaign released a series of demands to University administrators calling for a living wage policy at the University.
These demands included a requirement that the University "explicitly address" the issue by Feb. Although University President Teresa Sullivan did respond to the demands in a mass email sent to the University community shortly before the end of the day on February 17, the Campaign criticized her response as "intentionally misleading" and vowed to take action.
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On February 18, the campaign announced that 12 students would begin a hunger strike to publicize the plight of low-paid workers. Criticisms against the implementation living wage laws have taken similar forms to those against minimum wage. Economically, both can be analyzed as a price floor for labor. As such, setting the minimum wage at a living wage has been criticized for possibly destroying jobs. See competitive advantage for more information.
Another issue that has emerged is that living wages may be a less effective anti-poverty tool than other measures. Authors point to living wages as being only a limited way of addressing the problems of rising economic inequality , the increase of long-term low-wage jobs, and a decline of unions and legal protection for workers. The concept of a living wage based on its definition as a family wage has been criticized by some for emphasizing the role of men as breadwinners. From Wikipedia, the free encyclopedia. Everyone who works has the right to just and favourable remuneration ensuring for himself and for his family an existence worthy of human dignity.
Main article: Living Wage Foundation. Edward Elgar Publishing. Archived from the original PDF on New York Times. Retrieved October 27, The Economist. Retrieved Living Wage Foundation. American Journal of Economics and Sociology. Vibrant Communities Calgary. August Archived from the original PDF on May 14, Retrieved March 19, Journal of Business Ethics. Aristotle on the Perfect Life. Edward Elgar. Makes the Case for the Minimum Wage". Retrieved July 29, Retrieved February 29, A living wage: Its ethical and economic aspects.
London: MacMillan. The ethics of the living wage: A review and research agenda. Journal of Business Ethics, 3 , pp. Living wage movements: Global perspectives. London: Routledge. Bernie Sanders. Living Wage Ireland. Retrieved 8 July The Independent. Retrieved 12 April Wales Online. Retrieved 6 August The Washington Post. The Washington Post Company. Retrieved October 12, USA Today. September 11, Retrieved September 17, Archived from the original factsheet on July 20, Retrieved June 29, Retrieved September 22, Poverty Rates".
Journal of Labor Research. Canadian Journal of Administrative Sciences. Living wages around the world: A new methodology and internationally comparable estimates. International Labour Review, 4 , Retrieved 8 November Queen Mary University of London. Trust for London. Resolution Foundation. Landman Economics. BBC News. London's poverty profile. Retrieved 12 October Archived from the original on Bloomsbury Fightback! Ostwind Institut. Retrieved 19 January Labor Studies Journal.
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About us News stories. Dean Chittock Dr. Marshall Dahl Dr. At that time, studying acting was also deeply tied into my self esteem, because learning to act when you are also trying to figure yourself out in high school is complicated. And trying to be one with my peers at school, obviously trying to be one of the cool kids and obviously not being one of those kids.
Trying to navigate that and trying to prove myself as an actor to my peers. And also LaGuardia taught a very specific kind of track. They taught being an actor in New York City: get an agent, have your headshot look this way, go to these auditions, that is the track. And that never really spoke to me. I always knew I was not that type. What type is he? She was a s Jewish comedian. It immediately just fucked me up. E: So I never found my place there. There are so many different ways, there are so many different tracks. I was born here and we moved to New York City when I was two.
But my parents grew up here, they met here, and we would come here for Thanksgiving, Passover and Christmas holidays. My grandparents live thirty minutes north. I lived with my aunt in Fairmount for the first ten months of the apprenticeship. It feels like Philly is more connected to my roots. E: It relates for me in that I feel like it makes me a better actor in the room. It makes me appreciate the production process way more. And I like being on that side of the production.
I like going to meetings before the show even starts and talking about the concept. And I love that part, especially when the production team is so good. And acting does something entirely different for me, which is the repetition, exploring and deepening the performance every night.
They exercise different muscles and I like being a part of both those different groups. I was never someone with one friend group— I always had a bunch of different friends in different places. B: The first time I encountered you as a performer, it was a piece that you also created and directed. E: Yes! It was called Fando y Lis by Fernando Arrabal. I had translated and adapted the play in college and decided to mount it for the Fringe Festival. It blows my mind. But I also think that was at a time in my life, at a particular age, when everything seemed possible.
Like, I will never direct a show, produce it, act in it, and do prop work for it ever again. But that was an amazing experience and I am hoping to get some of that drive back again. We went to three jails, we went to a JCC, we went to some community centers and homeless shelters, sharing this very particular, very specifically-directed version of The Merchant of Venice. We also had a mandatory talkback at the end of each show. Essentially, what David Stradley wanted to do was really to foster a conversation about xenophobia and anti-semitism.
So it really felt like a workshop in a way, and some of the conversations we had after the shows were mind-blowing, really eye-opening, and they showed us that, sadly, this play continues to be very relevant today. But that was a fun, an interesting thing to navigate. I think it was a first time for all of us. And David did a really good job of making us feel heard. Liz has an amazing plethora of instruments at her house. We did a lot of outside-rehearsal time, sort of jamming and figuring out what these different characters sounded like.
We started by exploring the three different worlds of the play: the Shylock world, the Venice world, and Belmont, the Portia world. And then from there we figured out cool, interesting melodies for each of them and what their instruments would be. And then added different character moments: this is a moment of tension that we need to highlight here, this is a character entrance that we need to highlight.
Music served as the lighting design essentially, too. Really fascinating. We used it a lot as inspiration. It was very cool. E: Growing up I just always had all these different things that I was interested in, and it was always drawing, music, and acting. Acting was just something I did. And drawing and music were ways I would relax. If I was stressed out about anything, playing covers of my favorite songs and learning guitar was how I got away from those stresses.
And it connected me to people who were also musicians— having jam sessions in high school, jam sessions in college, that was how I found my people. E: I love being with a group of people for a very small period of time, and working on the thing together. And then we have this product at the end. E: I prefer to be a cog in the machine rather than the leader.
E: Bandits. Collaborating with a dance company by writing music was an unbelievable experience. We would go watch them rehearse, and sit on the side and write something. Essentially, we had music, they had dances, and we just mashed them up.
That was a really fun process. Working on Lizzie was one of the best experiences ever. It was a very heavy female team. That was with 11th Hour Theatre Company , and Kate Galvin directed that one, and she was so amazing to work with: she just had answers on the ready always. How do we hang this on the wall? We just got these massive set pieces in here. Let me make a bunch of fake hamburgers and hand cut french fries.
Can I come back there with you? E: He was totally excited to show it to me! I feel like when I do prop work, I get to meet really interesting people and ask them really weird questions. Do you have any things you can show her? He would never let you come back there. Tommy Butler holds these really amazing group sessions called Support and Hang that he started about a year ago.
It feels kind of therapeutic. Five years since I finished the apprenticeship. E: Send cash! Send cash to Applied Mechanics now. A few months ago, we got an invitation from an art hero of ours. To say we were stoked is an understatement. She had moved to Philadelphia from Brooklyn a few years ago after a fire destroyed her home and work studio. Our artistic director, Becky Wright, directed Cynthia in a show she wrote about the fire, called Articles of Faith. How do your beliefs carry you through catastrophe?
Now we were not only going to share a bill with Cynthia, she was actually going to sit in and play with our house band, the Bandits. The Bandits has also been a mouthpiece for our own Articles of Faith. The lyrics of Bandits songs articulate our most deeply held beliefs: dissatisfaction with oppressive systems, and a longing for a more equitable world. Some of our favorite memories of him are during strike of the show We Are Bandits , where he cheerily helped us for hours, chatting and gesturing excitedly, accidentally getting paint in his halo of curly hair.
On Jan 23, , a few days before our concert, Erik Olin Wright passed on. Becky was with him in Wisconsin. He was a visionary, a father, a scholar, and a friend who taught us that utopia is a place we can make. He was a bandit. We are all bandits. Thank you Becky for sharing your dad with us, and being an amazing example of what a real utopian is. This is the first of a set of interviews and hangouts with Applied Mechanics Associated Artists. As a core company of five, we are actually much more than that. Our Associated Artists help make Applied Mechanics run and these upcoming blog posts highlight each of these talented artists and their various activities.
However, Nic is not brand new to us. Chronotope Rough Draft entwined three historical, political protests, which we completed in residency at UArts.
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Nic was still a student at UArts then, and since graduating they have catapulted into the Philadelphia theater community. Focusing purely on new work is somewhat rare for a Stage Manager at least locally and Nic and I talked about being a non-equity Stage Manager in Philadelphia. Because most experimental companies work outside of equity contracts Nic has successfully been able to maintain their career without having to consider joining equity or doing more traditional stage productions.
This is only disappointing for Nic because their favorite part of a process is tech! So we delved into talking about tech. As a performer tech is slow and tedious for me, but for Nic this is where they shine navigating the numerous moving parts of a production.
We talked about This is On Record and how the tech was difficult because they had to figure out how it would be possible to call the multiple moving parts of the show as it was weaving the narrative. They ultimately were able to use an app from their phone— using Bluetooth— so they could call the sound and video cues anywhere in the space. So you may have seen Nic wandering around the performance so they could actually see what was going on.
This cabaret spectacular utilized three stories of a building during Fringe this September. While Nic teched every floor of the production, they then handed off the SM book to the ASMs as Nic ran and managed the most complex second floor. With all its complications it was extremely rewarding and a huge growing process for them.
They are so lighthearted about it, that even when they comment on possible burn out, they are even tempered about figuring it out and adjusting accordingly. We shifted into the last of the exqueerience talking about idols and icons building a laundry list of queers we love. The list highlighted by historical trans activists Marsha P Johnson and Sylvia Rivera, as well as contemporaries including trans playwright MJ Kaufman.
So queer! In our date we also got lost talking about Hallmark Christmas movies and Nic has just learned crocheting— already whipping up a hat and two and a half scarves in three days. They are keeping their hands busy, even in a week where they have off from SMing. More exqueeriences soon!trucimterzeti.tk
The Dignity of Men
I was asked why the city attracted me and honestly I forget what initiated it. It has been calling me so long over 10 years that now it is an ethos, a visceral need. How does my body weave this place into my subconscious? In the arrival I feel calm. My body has physically flown over miles yet I feel like nothing much has changed.
I could be stepping into any place.
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I move with a curious ease toward the S-Bahn. I now fully feel the weight of my packed baggage. Berlin is symbol: a site of possibility, connection, and relationship. I identify this trip as a pilgrimage, a puzzle piece to my artistic life. I venture for over two weeks throughout the expansive city discovering its distinctive spaces. My rented bicycle gets me lost quickly. The street layout is no Philly grid as roads often curve and change names. One minute a road is heading north and then suddenly heading west. I take Gaga classes at Tanzfabrik. One ongoing practice in Gaga is to keep your eyes open.
A closing of eyes internalizes the movement while keeping my eyes open allows the movement to rush out of me. I send and release my roll from my hip joint, passing it across my body, and flick it across the room. These gestures are electric and in a constant flow. It cannot be contained. There is no one I need to impress. There are no expectations. I walk the streets at the slowest of paces taking in each shop, each brick. My paths are unusual as I spiral through a neighborhood. In their performance each audience member is offered a hard pink ball of beeswax. Told to hold it in my hand I discover a surprising active motion.
The molecules in the ball speed up due to the heat my body creates. The wax softens and I am then able to reshape the ball into something new. Who am I to this space? I am anonymous and for the first time in years feel completely myself and in my body. There is no code switching. There is no judgment. I feel wild and free.
My hips open in new ways. I have lived so much of my life representing an idea of myself, aiming to impress someone and an expectation to be this or that. Here: no expectations. Pleasure just for me. I sit for an hour in the middle of an abandoned airport Templehof. I am comforted by the sun. It feels apocalyptic as the flat land around me is populated by walkers and bikers. I roam the old runway. I sit in the grass. I stretch my back muscles I have an ongoing tightness in these muscles.