Wednesday, May 28, 2008

Girl Guides

Girl Guides or Girl Scouts is a parallel movement to Scouting. It evolved from the Scouting movement in the early years of the 20th century. Girls were attracted to Scouting from its inception in 1907. In different places around the world, the movement developed in diverse ways. In some places, girls attempted to join Scouting organisations and it was decided that single-sex organisations were a better solution. In other places, girls groups were started, some of them later to open up to boys or merge with boys' organisations. In other instances, mixed groups were formed, sometimes to later split. In the same way, the name Girl Guide or Girl Scout has been used by groups at different times and in different places, with some groups changing from one to another. In the past, boys had to join the Boy Scouts or Cub Scouts but in recent years Guides has been open for both boys and girls to join in most countries. In 1909, Robert Baden-Powell, the founder of Scouting, decided that girls should not be in the same organisation as the boys, and the Girl Guides were founded in the UK in 1910. Many, though by no means all, Girl Guide and Girl Scout groups across the globe trace their roots to this point. Agnes Baden-Powell was in charge of Girl Guiding in UK in its early years. Other influential people were Juliette Gordon Low, founder of the Girl Scouts of the USA, Olga Malkowska in Poland and Antoinette Butte in France.[1] Two central themes have been present from the earliest days of the movement: domestic skills and "a kind of practical feminism which embodies physical fitness, survival skills, camping, citizenship training, and career preparation".[2] These two themes have been emphasised differently at different times and by different groups, but have remained central to Girl Guiding and Girl Scouting. There has been much discussion about how similar Girl Guiding and Girl Scouting should be to boys' Scouting programs. While many girls saw what the boys were doing and wanted to do it too, girls' organizations have sought to avoid simply aping the boys'. Even when most Scout organizations became coeducational Guiding remained separate in many countries to provide a female-centered program. Internationally it is governed by the World Association of Girl Guides and Girl Scouts with member organizations in 144 countries.

Tuesday, May 27, 2008

Girl's Best Friend

Girl's Best Friend" is a 1999 single by rapper Jay-Z that features vocals from Theresa Rodriguez. It was released as a single to promote the 1999 comedy film Blue Streak and appears on its soundtrack Blue Streak: The Album. In the same year, it appeared as a hidden track on Jay-Z's fourth album Vol. 3... Life and Times of S. Carter. Its beat, produced by Swizz Beatz, contains a sample of "Keep It Comin' Love" by KC and the Sunshine Band. Contents[hide] 1 Single track list 1.1 CD 1.2 Vinyl 1.2.1 A-Side 1.2.2 B-Side 2 See also // [edit] Single track list [edit] CD "Girl's Best Friend (Radio Version)" (3:26) "Girl's Best Friend (LP Version)" (3:59) "Girl's Best Friend (Instrumental)" (4:08) [edit] Vinyl [edit] A-Side "Girls Best Friend" "Girls Best Friend (Radio Version)" [edit] B-Side "I Put You On" "While You Were Gone" [edit] See also List of Jay-Z songs [hide] vdeJay-Z Studio albums Reasonable Doubt · In My Lifetime · Hard Knock Life · Life and Times of S. Carter · Roc La Familia · The Blueprint · The Blueprint²: The Gift & the Curse · The Black Album · Kingdom Come · American Gangster Compilations Jay-Z: Unplugged · Chapter One: Greatest Hits · The Blueprint 2.1 · Bring It On: The Best of Jay-Z · Greatest Hits Collaborations The Best of Both Worlds · Unfinished Business · Collision Course Singles "In My Lifetime" · "Dead Presidents" · "Ain't No Nigga" · "Can't Knock the Hustle" · "Feelin' It" · "Who You Wit II" · "(Always Be My) Sunshine" · "The City Is Mine" · "Hard Knock Life (Ghetto Anthem)" · "Jigga What, Jigga Who" · "Money, Cash, Hoes" · "Can I Get A..." · "It's Alright" · "Love for Free" · "Money Ain't a Thang" · "Big Pimpin'" · "Do It Again (Put Ya Hands Up)" · "Jigga My Nigga" · "Girl's Best Friend" · "I Just Wanna Love U (Give It 2 Me)" · "Guilty Until Proven Innocent" · "Change the Game" · "Izzo (H.O.V.A.)" · "Girls, Girls, Girls" · "Jigga that Nigga" · "Song Cry" · "People Talking" · "'03 Bonnie & Clyde" · "Excuse Me Miss" · "Change Clothes" · "Dirt off Your Shoulder" · "Encore" · "What More Can I Say" · "99 Problems" · "Show Me What You Got" · "Lost One" · "Minority Report"/"Beach Chair" · "Hollywood" · "30 Something" · "Blue Magic" · "Roc Boys (And the Winner Is)..." · "I Know" Related articles Discography · Roc-A-Fella Records · Jay-Z vs. Nas feud · Beyoncé Knowles · Def Jam Recordings · Songs

Saturday, May 24, 2008

Girls in the House

Girls in the House is the debut studio album by German pop group Preluders, released on November 24, 2003 (see 2003 in music) on Polydor's sublabel Cheyenne Records. It was entirely co-produced by Uwe Fahrenkrog-Petersen, and Gena Wernik and peaked at number 2 in Germany, number 4 in Switzerland, and number 5 in Austria, eventually receiving a gold certification for more than 100,000 albums sold. The album spawned three singles, including the promotional cover single "Losing My Religion", German number-one single "Everday Girl", and bilingual "Bal Privé". [edit] Track listing # Title 1. "Girls in the House" 3:40 2. "Everyday Girl" 3:23 3. "Bal Privé" 3:12 4. "Catch Me" 3:28 5. "Losing My Religion" 4:21 6. "Bye Bye for the Better" 3:29 7. "We Love to Entertain You" 3:43 8. "Riding on the Lovetrain" 4:01 9. "Sundown" 3:44 10. "I Tattoo You" 3:34 11. "You're Blocking My Sun" 3:31 12. "Born to Love You Forever

Tuesday, May 20, 2008

Girls IQ

IQ (girl group) From Wikipedia, the free encyclopedia • Interested in contributing to Wikipedia? • Jump to: navigation, search IQ Origin Lunenburg, Massachusetts, USA Genre(s) Pop/Hip-hop Years active 2005—present Label(s) Bungalo Records/Universal Music Website IQMusicGirls.com Members Nyla WilliamsLauren MaferaGicelle ValerioSadiea Williams Former members Mikayla Campbell (2005—2007) IQ is an American teenage pop and hip hop girl group. The group consists of sisters Sadiea and Nyla Williams, Gicelle Valerio and Lauren Mafera, all from Lunenburg, Massachusetts. Past member, Mikayla Campbell is from Fitchburg, Massachusetts. Contents[hide] 1 Members 2 Former members 3 IQ Biography 4 Discography 5 References 6 External links // [edit] Members Nyla Williams (born 1990) was Miss Massachusetts of the National American Miss Massachusetts Junior Teen beauty pageant of 2005 and 2006.[1] She is also a poet and dancer with aspirations of modeling and fashion designing. Both she and her sister, Sadiea, are of African-American, Scottish, Pakistani and American Indian descent. She is rapper and vocalist for IQ. Gicelle Valerio (born 1989) is Hispanic-American. She is of Bolivian, Dominican, Spanish, and Italian descent. Valerio is a vocalist and rapper for IQ as well as choreographer. She has been accepted to Fitchburg State College to major in nursing and her aspirations is to become a graduate student to major in business as well. Her interests includes fashion, dancing, gymnastics and modeling. Nyla was arrested with a straight warrent on April 30th, 2008 in Lunenburg, Massachusetts. Sadiea Williams (born 1989) is a rapper and vocalist for IQ. She is an athlete who is interested in basketball, cross-country and track & field. She was an all-star basketball player at Lunenburg High School.[2] She has been accepted to an Ivy League School Brown University to pursue basketball. Lauren Mafera (born 1989) is a recent member who is the main vocalist for IQ. She is a photographer, singer, and dancer. Her interests include drawing, fashion, photography, and singing. Her aspirations is to pursue college with a Business degree and continuing photography. [edit] Former members Mikayla Campbell (born 1990) is a former member who was the main vocalist for IQ. She is now an actress who has performed in musical plays. Her aspirations are to perform in Broadway plays. Her true passion is to pursue her musical career as a Broadway performer. Campbell recently attends a performing arts school at Walnut Hill in Natick, MA. [edit] IQ Biography IQ first formulated through a school talent show. Sisters Sadiea and Nyla, asked their father, Mark, to compose songs for their performances. The girls performed the song "School" (a later song on their debut album). The overall response from young people was outstanding. Campbell and Valerio joined the group later to make the group four. In the group, the Williams sisters and Valerio both rap and perform back-up singing vocals. Mafera is the main vocalist (The group's former main vocalist, Campbell left IQ in 2007). IQ performed in Boston, New York and Hollywood to promote the release of their EP, It's Like That, initially released on Apple iTunes in May of 2005. On New Year's Eve of 2005, they performed at the Disney Jingle Jam in Boston with B5, Everlife and Jada. In 2006, they released a re-make of the Frankie Valli & The Four Seasons song "Big Girls Don't Cry" as their first single on Radio Disney[3] IQ continued to perform shows with Radio Disney and obtained the prestige of becoming a Radio Disney Incubator artist. In July of 2006, their debut album, Roll Call in July, distributed by WPE Music, LLC through Bungalo/Universal. In February of 2008, the group released their sophormore album, Crush on Bungalo Records/Universal Music. The debut single from the album is "Crush on U" and a remixed version which includes artists such as Mighty Mystic; a Jamaican musician, Baby Boy Da Prince, CL Smooth and J. R. Writer from Dipset.[citation needed] [edit] Discography It's Like That EP (2005) Roll Call (2006) Crush (2008)

Friday, May 16, 2008

Girls Genius

Girl Genius is an ongoing comic book series turned webcomic, written and drawn by Phil and Kaja Foglio and published by their company, Studio Foglio LLC under the imprint Airship Entertainment. The comic has won five WCCA awards including 2008 Outstanding Comic, and been nominated for a Hugo Award for Best Professional Artist, an Eagle Award and twice for an Eisner Award. On April 18, 2005, Girl Genius became a webcomic, and quarterly publication of the comic ceased. It is still organized into volumes and sold as such as print collections. Its site had two streams, "101" (for back issues) and "Advanced Class" (for new material) until the former caught up and made the entire comic available to read at a sitting. Contents[hide] 1 Plot 2 Gaslamp Fantasy 3 The Spark 4 Characters 4.1 Agatha Clay/Heterodyne 4.2 The Heterodyne Boys 4.3 Baron Klaus Wulfenbach 4.4 Gilgamesh Wulfenbach 4.5 Othar Tryggvassen 4.6 Krosp I 4.7 Zeetha 4.8 Ardsley Wooster 4.9 The Jägermonsters/Jägerkin 4.10 Bangladesh Dupree 4.11 More Cast 5 Awards 6 Published collections 7 Connections to other works 8 See also 9 References 10 External links // [edit] Plot Girl Genius is a steampunk tale; “a gaslamp fantasy with adventure, romance and mad science”, set in an alternate history "where the Industrial Revolution has become an all-out war" due to the appearance of "Sparks" – highly charismatic mad scientists with supernormal abilities in one or more sciences. The main character, Agatha Heterodyne, is (as far as is known) the sole surviving descendant of the Heterodyne clan, a centuries-old Spark dynasty. Known for their unique family trait, a form of autosuggestion called "heterodyning" involving a hummed tune that enhances their already prodigious abilities[2], they were among the world's most powerful Sparks – and the most villainous. The only exception to the family's nefarious nature were Agatha's uncle Barry and her father William (or Bill). As the famous Heterodyne Boys, they established a Golden Age in Europe that lasted years and almost completely redeemed the family name. However, around the time of Agatha's birth, it came to an end with the appearance of the most dreaded Spark in recent history – a mysterious force known to most only as "the Other". The Other possessed almost unimaginably powerful technologies, chief among them the terrifying Slaver Wasps, parasitic insects which transformed their victims into Revenants – servants who, despite retaining their intelligence and consciousness, become somehow dominated by the Other in a hitherto unknown manner.[3] Leading the fight against them and the Other were the Heterodyne Boys. After several years of war, the Other disappeared – and so did the Heterodyne Boys.[4] Bill has not been seen since, but Barry raised Agatha in secret until she was seven, when he disappeared once more, leaving her in the care of Punch and Judy, two "constructs" (artificial people in the style of the pop-culture version of Frankenstein's monster) originally built by Bill and Barry. At the beginning of the series, Agatha is ignorant of her true heritage, and is being raised under the name of Agatha Clay, knowing her adoptive parents only as Adam and Lilith. But when she loses her locket, her only keepsake of her parents which Barry told her to always wear, her life changes. She is expelled from the renowned Transylvania Polygnostic University and discovers that the locket held a secret – it suppressed her Spark. She quickly draws the attention of the ruthless ruler of much of Europe, Baron Klaus Wulfenbach – a former associate of her father and her uncle, and a former unsuccessful suitor for her mother's hand. [edit] Gaslamp Fantasy Kaja Foglio coined the term "Gaslamp Fantasy" (an alternative to steampunk) to describe the work. In her April 24, 2006 LiveJournal entry, Kaja Foglio explained how the term came to be coined: "I called it Gaslamp Fantasy because, around the time we were bringing Girl Genius out, there was a comic called Steampunk on the shelves and I didn't want any confusion. Plus, I've never liked the term steampunk much for our work, it's derived from cyberpunk (a term which I think actually fits its genre well) but we have no punk, and we have more than just steam, and using a different name seemed appropriate. I mis-remembered a term that I had come across in the foreword to an H. Rider Haggard book, where the author was talking about Jules Verne, H.G. Wells, Rider Haggard and that sort of pre-pulp adventure material, and came up with "Gaslamp Fantasy." I felt a bit foolish when I discovered that I had made up my own term, but it works and I like it." It also differs from classic steampunk in that technology is not just limited to machines but also encompasses biology. Thus alongside the clanks (impossibly advanced steampunk robots), dirigibles and walking gunboats of the world there are constructs - biological creations which range from Frankenstein-style creatures to talking cats and mouse-sized mammoths. [edit] The Spark The Spark is the center of the fictional Girl Genius universe. It is what makes the mad scientists of the story what they are; people say someone is a Spark if he or she has the Spark.[5] It is a rare hereditary trait found mostly within a small number of families - most of the common population that "break through" are either relatively weak or unknowingly related to one or more of these families. Most of the time those who carry the Spark seem no different from anyone else, but they are capable of entering a state of hyperfocus (sometimes called "the madness place"[6]) that greatly enhances their charisma, comprehension and intuition – at the cost of all their rationality.[7] In short, they can become fanatically obsessive savants at the drop of a hat (though stimulants can easily induce it[8]) – and it is not at all uncommon for some to act as such almost constantly. On top of that, the first time a Spark enters hyperfocus is (with only one exception) always traumatic. Most are almost immediately killed by their breakthrough creations, or by rioting townsfolk. A fair number become incurably insane. This period is especially dangerous for females, which is one of the reasons why most adult sparks are male.[9] Most of those who survive quickly gain followers (commonly known as minions) through sheer magnetism, and eventually gather tremendous support unless killed by rival Sparks. Those that survive this process of attrition become the power players of their fictional world, and if they successfully reproduce they begin lineages that are nothing less than royalty – right down to personal heraldic sigils: the Heterodyne Trilobite[10], the Aaronev Sword-and-Gear[11], and the Wulfenbach Winged Rook[12], for example. (Those who accept the Baron's Peace wear winged versions of their sigils[13], though their underlings wear theirs). However, this does little to satisfy their obsessions, and they spend most of their time dueling rivals when not engaging in dangerous experiments. The world of Girl Genius is one of unending conflict and cataclysm. Though a Spark requires tools and materials to work, there seems to be nothing beyond their capabilities if they desire it enough. Every stereotype accredited to mad scientists is possible for them, from resurrecting the dead to changing animals into people to creating life from scratch. Mechanisms of astounding complexity and capability are common, many beyond the reach of modern science. Foremost among these creations are weapons of unbelievable power. However, when these capabilities are paired with their lack of rational thought, the results are devastating. Though the average Spark is smart enough to make the impossible possible, they are also dumb enough to rarely understand the consequences of their actions. It's noted on at least one occasion that many Sparks meet their doom owing to the fact that "they're smart enough to build death-rays and dumb enough to turn them on armies all by themselves."[14] This suggests a dichotomy in the brain of the spark, since many seem to be more than willing to conduct experiments of questionable morality whilst under hyperfocus[15]and yet still be willing to sacrifice themselves in a heartbeat to save others. They are thus almost always generally despised. Many dub them "madboys" (but never when one is within earshot).

Thursday, May 15, 2008

Girls in the Newspaper!

Lowell Mill Girls" was the name used for female textile workers in Lowell, Massachusetts in the 19th century. The Lowell textile mills employed a workforce which was about three quarters female; this characteristic (unique at the time) caused two social effects: a close examination of the women's moral behavior, and a form of labor agitation. The Lowell female textile workers wrote and published several literary magazines, including the Lowell Offering, which featured essays, poetry and fiction written by female textile workers. They also actively participated in early labor reform through legislative petitions, forming labor organizations, contributing essays and articles to a pro-labor newspaper the Voice of Industry[1] and protesting through "turn-outs" or strikes. Contents[hide] 1 Industrialization of Lowell 2 Work and living environment 2.1 Factory conditions 2.2 Living quarters 3 The Lowell Offering 4 Strikes of 1834 and 1836 5 Lowell Female Labor Reform Association 6 Political character of labor activity 7 References 8 External links // [edit] Industrialization of Lowell [hide]Part of a series on Organized Labor The Labor Movement New Unionism · Proletariat Social Movement Unionism Syndicalism · Socialism Labor timeline Labor rights Child labor · Eight-hour day Occupational safety and health Collective bargaining Trade unions Trade unions by country Trade union federations International comparisons ITUC · WFTU · IWA Strike actions Chronological list of strikes General strike · Sympathy strike Sitdown strike · Work-to-rule Trade unionists Sidney Hillman · I. C. Frimu I. T. A. Wallace-Johnson Tanong Po-arn Sarah Bagley more names Academic Disciplines Labor in economics Labor history (discipline) Industrial relations Labor law This Box viewtalkedit Main article: History of Lowell, Massachusetts In 1814, businessman Francis Cabot Lowell formed a company, the Boston Manufacturing Company and built a textile mill next to the Charles River in Waltham, Massachusetts. The Waltham mill was the first integrated mill in the United States, transforming raw cotton into cotton cloth in one building. Lowell died three years later, and in the 1826 his partners named their new mill town "Lowell" in his honor.[2] In 1821, Boston Manufacturing Company investors purchased land near the Pawtucket Falls in East Chelmsford to expand its textile manufacturing operations. In less than 20 years, a sparse collection of family farms was transformed into the industrial city of Lowell, Massachusetts. In that time, ten textile corporations opened 32 mills in the city.[3] Women were "collected" or recruited by men telling tales of high wages available to "all classes of people." In 1840, the factories employed almost 8,000 workers – mostly women between the ages of 16—35.[3][4] The city became world-renowned as a center of efficient industry. French economist Michel Chevalier visited in 1834,[5] and English novelist Charles Dickens visited in 1842, remarking favorably on the conditions.[6] The Industrial Revolution was changing the face of commerce, and Lowell was central to this transformation in the United States.[5] [edit] Work and living environment The social position of the factory girl had been degraded considerably in France and England. In her autobiography, Harriet Robinson (who worked in the Lowell mills from 1834-1848) suggests that "It was to overcome this prejudice that such high wages had been offered to women that they might be induced to become mill­ girls, in spite of the opprobrium that still clung to this degrading occupation.…"[4] [edit] Factory conditions The Lowell System combined large-scale mechanization with an attempt to improve the stature of its female workforce. A few girls who came with their mothers or older sisters were as young as ten years old, some were middle-aged, but the average age was about 24.[4] Usually hired for contracts of one year (the average stay was about four years), new employees were given assorted tasks as sparehands and paid a fixed daily wage. They were paired with more experienced women, who trained them in the ways of the factory.[3] Conditions in the Lowell mills were severe by modern American standards. Employees worked from five am until seven pm, for an average 73 hours per week.[4][3] Each room usually had 80 women working at machines, with two male overseers managing the operation. The noise of the machines was described by one worker as "something frightful and infernal", and although the rooms were hot, windows were often kept closed during the summer so that conditions for thread work remained optimal. The air, meanwhile, was filled with particles of thread and cloth.[7] [edit] Living quarters The investors or factory owners built hundreds of boarding houses near the mills, where textile workers lived year-round. A curfew of 10 pm was common, and men were generally not allowed inside. About 25 women lived in each boardinghouse, with up to six sharing a bedroom.[3] One worker described her quarters as "a small, comfortless, half-ventilated apartment containing some half a dozen occupants".[8] Trips away from the boardinghouse were uncommon; the Lowell girls worked and ate together. These close quarters fostered community as well as resentment. Newcomers were mentored by older women in areas such as dress, speech, behavior, and the general ways of the community. Workers often recruited their friends or relatives to the factories, creating a familial atmosphere among many of the rank and file.[3] The Lowell girls were expected to attend church and demonstrate morals befitting proper society. The 1848 Handbook to Lowell proclaimed that "The company will not employ anyone who is habitually absent from public worship on the Sabbath, or known to be guilty of immorality."[9] Women were also given opportunities to attend concerts and lectures, in addition to experiencing city life. Still, at least one observer reported that most women worked so that a male relative could obtain an education. "I have known more than one to give every cent of her wages," she writes, "month after month, to her brother, that he might get the education necessary to enter some profession."[4] [edit] The Lowell Offering Cover of the The Lowell Offering, Series 1, Number 1 (1840) Main article: Lowell Offering In October 1840, the Reverend Abel Charles Thomas of the First Universalist Church organized a monthly publication by and for the Lowell girls. As the magazine grew in popularity, women contributed poems, ballads, essays and fiction – often using their characters to report on conditions and situations in their lives.[3] The Offering's contents were by turns serious and farcical. A letter in the first issue, "A Letter about Old Maids," the author suggested that "sisters, spinsters, lay-nuns, &c" were an essential component of God's "wise design".[10] Later issues – particularly in the wake of labor unrest in the factories – included an article about the value of organizing and an essay about suicide among the Lowell girls.[11] [edit] Strikes of 1834 and 1836 The initial effort of the investors and managers to recruit female textile workers brought generous wages for the time (three to five dollars per week), but the economic depression of the early 1830s forced the Board of Directors to propose a reduction in wages. This, in turn, led to organized "turn-outs" or strikes. In February 1834, the Board of Directors of Lowell's textile mills requested the managers or agents to impose a 15% reduction in wages, to go into effect on March 1st. After a series of meetings, the female textile workers organized a "turn-out" or strike. The women involved in "turn-out" immediately withdrew their savings causing "a run" on two local banks.[12] The strike failed and within days the women had all returned to work at reduced pay or left town, but the "turn-out" or strike was an indication of the determination among the Lowell female textile workers to take labor action. This dismayed the agents of the factories, who portrayed the turnout as a betrayal of femininity. William Austin, agent of the Lawrence Manufacturing Company, wrote to his Board of Directors, "not with standing the friendly and disinterested advice which has been on all proper occassions [sic] communicated to the girls of the Lawrence mills a spirit of evil omen … has prevailed, and overcome the judgment and discretion of too many…."[3] Again, in response to a severe economic depression and the high costs of living, in January 1836, the Board of Directors of Lowell's textile mills absorbed an increase in the textile workers' rent to help in the crisis faced by the company boardinghouse keepers. As the economic calamity continued in October 1836, the Directors proposed an additional rent hike to be paid by the textile workers living in the company boardinghouses. The female textile workers responded immediately in protest by forming the Factory Girls' Association and organizing a "turn-out" or strike. Robinson recalled: "One of the girls stood on a pump and gave vent to the feelings of her companions in a neat speech, declaring that it was their duty to resist all attempts at cutting down the wages. This was the first time a woman had spoken in public in Lowell, and the event caused surprise and consternation among her audience.…"[4] This "turn-out" or strike attracted over 1,500 workers – nearly twice the number two years previously - causing Lowell's textile mills to run far below capacity.[3] Unlike the "turn-out" or strike in 1834, in 1836 there was enormous community support for the striking female textile workers. The proposed rent hike was seen as a violation of the written contract between the employers and the employees. The "turn-out" persisted for weeks and eventually the Board of Directors of Lowell's textile mills rescinded the rent hike. The "turn-out" was a success. [edit] Lowell Female Labor Reform Association 1836 Constitution of the Lowell Factory Girls Association Main article: Sarah Bagley As the Ten Hours Movement made progress toward a less grueling workday in England, the Lowell female textile workers started an organization in 1845 called the Lowell Female Labor Reform Association. One of its first actions was to send petitions signed by thousands of textile workers to the Massachusetts General Court demanding a ten-hour work day. In response, the Massachusetts Legislature established a committee chaired by William Schouler, Representative from Lowell, to investigate and hold public hearings, during which workers testified about conditions in the factories and the physical demands of their twelve-hour days. These were the first investigations into labor conditions by a governmental body in the United States.[13] The 1845 Legislative Committee determined that it was not state legislature's responsibility to control the hours of work, the FLRA called its chairman, William Schouler, a "tool" and worked – successfully – to defeat his next campaign for office.[3] The Lowell female textile workers continued to petition the Massachusetts Legislature and legislative committee hearings became an annual event. Although, the initial push for a ten-hour workday was unsuccessful, the FLRA continued to grow, affiliating with the New England Workingmen's Association and publishing articles in that organization's Voice of Industry a pro-labor newspaper.[3] This direct pressure forced the Board of Directors of Lowell's textile mills to reduce the workday by 30 minutes in 1847. The FLRA's organizing efforts spilled over into other nearby towns.[3] In 1847, New Hampshire became the first state to pass a law for a ten-hour workday, although there was no enforcement and workers were often requested to work longer days. Again, as a result of constant pressure by the Lowell's textile workers, in 1853, the Lowell corporations reduced the workday to 11 hours. [edit] Political character of labor activity The Lowell girls' organizing efforts were notable not only for the "unfeminine" participation of women, but also for the political framework used to appeal to the public. Framing their struggle for shorter work days and better pay as a matter of rights and personal dignity, they sought to place themselves in the larger context of the American Revolution. During the 1834 "turn-out" or strike – they warned that "the oppressing hand of avarice would enslave us",[3] the women included a poem which read: Let oppression shrug her shoulders,And a haughty tyrant frown,And little upstart Ignorance,In mockery look down.Yet I value not the feeble threatsOf Tories in disguise,While the flag of IndependenceO'er our noble nation flies.[14] In the 1836 strike, this theme returned in a protest song: Oh! isn't it a pity, such a pretty girl as I Should be sent to the factory to pine away and die?Oh! I cannot be a slave, I will not be a slave,For I'm so fond of liberty,That I cannot be a slave.[14] The most striking example of this political overtone can be found in a series of tracts published by the Female Labor Reform Association entitled Factory Tracts. In the first of these, subtitled "Factory Life As It Is", the author proclaims "that our rights cannot be trampled upon with impunity; that we WILL not longer submit to that arbitrary power which has for the last ten years been so abundantly exercised over us."[8] This conceptualization of labor activity as philosophically linked with the American project in democracy has been instrumental for other labor organizing campaigns, as noted frequently by MIT professor and social critic Noam Chomsky.[15] [edit] References ^ Voice of Industry. ^ Sobel, Robert (1974). The Entrepreneurs: Explorations Within the American Business Tradition. Chapter 1, "Francis Cabot Lowell: The Patrician as Factory Master". New York: Weybright & Talley. ISBN 0679400648. ^ a b c d e f g h i j k l m Dublin, Thomas (1975). "Women, Work, and Protest in the Early Lowell Mills: 'The Oppressing Hand of Avarice Would Enslave Us'". Labor History. Online at Whole Cloth: Discovering Science and Technology through American History. Smithsonian Institution. Retrieved on 27 August 2007. ^ a b c d e f Robinson, Harriet (1883). "Early Factory Labor in New England". Internet History Sourcebooks Project. Retrieved on 27 August 2007. ^ a b National Park Service. Lowell National Historical Park Handbook. United States Department of the Interior. Retrieved on 27 August 2007. ^ Dickens, Charles (1842). American Notes. New York: The Modern Library. ISBN 0679601856. ^ "A Description of Factory Life by an Associationist in 1846". Online at the Illinois Labor History Society. Retrieved on 27 August 2007. ^ a b "An Operative" (1845). "Some of the Beauties of our Factory System – Otherwise, Lowell Slavery". In Factory Tracts. Factory Life As It Is, Number One. Lowell. Online at the Center for History and New Media. Retrieved on 27 August 2007. ^ Hamilton Manufacturing Company (1848). "Factory Rules" in The Handbook to Lowell. Online at the Illinois Labor History Society. Retrieved on 27 August 2007. ^ "Betsy" (1840). "A Letter about Old Maids". Lowell Offering. Series 1, No. 1. Online at the On-Line Digital Archive of Documents on Weaving and Related Topics. Retrieved on 27 August 2007. ^ Farley, Harriet (1844). "Editorial: Two Suicides". Lowell Offering. Series 4, No. 9. Online at Primary Sources: Workshops in American History. Retrieved on 27 August 2007. ^ Boston Transcript (1834). Online at "'Liberty Rhetoric' and Nineteenth-Century American Women". Retrieved on 27 August 2007. ^ Zinn, Howard (1980). A People's History of the United States, p. 225. New York: HarperPerennial. ISBN 0060926430. ^ a b Quoted in "'Liberty Rhetoric' and Nineteenth-Century American Women". Retrieved on 27 August 2007. ^ See, for example, Activism, Anarchy, and Power. Interview by Harry Kreisler. 22 March 2002. [edit] External links Bringing History Home: Lowell Mill Girl Game University of Massachusetts Lowell, Center for Lowell History Documents from Lowell, 1845-1848 Illinois Labor History Society Lowell Mill Girl Letters University of Massachusetts Lowell, Center for Lowell History Mill Life in Lowell Website University of Massachusetts Lowell, Center for Lowell History The Lowell Offering University of Massachusetts Lowell, Center for Lowell History The Voice of Industry Retrieved from "http://en.wikipedia.org/wiki/Lowell_Mill_Girls"