The Younger Women's Task Force (YWTF) is a project of the National Council of Women's Organizations. Founded in January of 2005, it is an American progressive non-profit advocacy organization centering on issues of importance to women ages 20-39. It consists of 12 chapters with a total claimed membership of 3500.
Its stated goals are to:
- Provide a stronger voice in the policy making process for women in their 20’s and 30’s;
- Increase the impact of younger women activists through the articulation of, and collaboration on, a common agenda;
- Create a culture of inclusion where decision-making and power are practiced collectively, and members from diverse backgrounds participate in all levels of YWTF;
- Define and develop the next generation of women leaders;
- Create a local and national network for peer mentoring, networking and sharing resources.
YWTF chapters have worked on a number of issues including increasing younger women's access to information about real estate, ratifying the Equal Rights Amendment and encouraging younger women to run for political office. YWTF recently announced a Media Democracy Project, a program intended to increase American young women’s ability to create their own media through alternative means.
Famous quotes containing the words younger, women, task and/or force:
“As long as a woman can look ten years younger than her own daughter, she is perfectly satisfied.”
—Oscar Wilde (1854–1900)
“The ships we sank with women and children aboard. The lifeboats we shelled. Mmm ... we were good at that.”
—Emeric Pressburger (1902–1988)
“Three million of such stones would be needed before the work was done. Three million stones of an average weight of 5,000 pounds, every stone cut precisely to fit into its destined place in the great pyramid. From the quarries they pulled the stones across the desert to the banks of the Nile. Never in the history of the world had so great a task been performed. Their faith gave them strength, and their joy gave them song.”
—William Faulkner (1897–1962)
“The difference between a photograph and even the most realistic painting—say, one of Courbet’s landscapes—is that in the latter there has been selection, emphasis and some discreet distortion. The painter’s deep instinctive feeling for mass and force has rearranged everything.”
—Gerald Branan (1894–1987)