#funded trading programs

[stockexperttrading]

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[giannnissavvidis]

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[fundedtrader]

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[imblogger99745]

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[psychotrenny]

One error you frequently find among Imperial Core Socialists, even ones that are otherwise well-informed and principled, is a misidentification of Imperialism's role in Late Stage Capitalism. They do recognise that Imperialism is a process that both exists and is an especially brutal form of exploitation that must be opposed by any who seek to create a better society, but they essentially frame it as merely something that the Bourgeoisie does; just another process by which this social class enriches itself at the expense of others. The Imperial Core Proletariat are implicitly treated as bystanders or even victims; their bodies destroyed and their tax dollars wasted so that those at the top of society can increase their returns on investment. They don't seem to realise how absolutely foundational Imperialism is to the current socio-economic order or how the Imperial Core Proletariat both directly and indirectly benefits from it (i.e. social programs funded by the wealth their nation receives from their participation in Imperialism, access to cheap commodities due to the terms of trade that Imperialism enforces etc.). You can't really complain about your taxes going to fund wars of Imperialist aggression when those wars maintain the very system that creates such a tax base in the first place.

That's not to say that the Imperial Core proletariat aren't exploited at all under Capitalism or that they won't be overall better off under Socialism. But even if opposition to Imperialist Capitalism is in the Long-Term interests of the entire Global Working Class, you simply can't ignore that particular sections of it have substantial short term incentives to accept or even actively participate in maintaining it. These sort of contradictions need to be acknowledged if they are to be overcome so that a unified Global Proletarian front can be advanced against the already largely unified Global Bourgeoisie. All members of the Working Class have so very much to gain, but for the workers of the world to unite some must accept that they have more to lose than their chains

[luulapants]

things you should know about books and incarceration

I recently started working with a program that sends books to incarcerated people upon request. There are programs like this in many places throughout the US, under names like “Prison Books Project” or “Books to Prisoners.” Here’s some things you should know:

The most requested book, by far, is the English dictionary. The Spanish dictionary is also highly requested, as are GED prep materials, thesauruses, almanacs, and other reference books. If you have anything like that laying around unused, please consider donating.

Prisons are legally required to maintain libraries of legal resources (this falls under one’s right to counsel), but otherwise generally do not fund or maintain libraries, even for basic educational materials. The law libraries are also often filled with irrelevant law texts (e.g. real estate and civil procedures) instead of what prisoners actually need information about: appeals, civil rights, etc.

There are strict requirements on what books can and cannot be received, which vary from prison to prison and even depending on which staff member is processing the shipments. There are a thousand different reasons prison staff can pull a book from a shipment. Individuals, unfamiliar with the complex restrictions, are often unsuccessful at sending books to incarcerated loved ones.

Prison staff often don’t like prison book programs, despite the fact that they reduce recidivism and keep prisoners occupied and out of trouble. Why? Because it makes more work for them in the mail room. Yes, really.

Immigrants are the fastest growing prison population, so we get lots of requests for books in Spanish or English learning materials. Unfortunately, these are less frequently donated, so our selection is slim.

We also get requests for books about sign language, usually from people with Deaf cellmates who have no other way to communicate.

Books about starting businesses, trades, and reintroduction are extremely common from those planning their lives after release. It’s extremely difficult for convicted felons to find work after release.

We also get many requests about psychology or self-help books. A large percentage of our incarcerated population suffer from some mental illness or have loved ones who do.

Many prisoners were not properly supported in their education. We receive letters from low-literacy people who have severe learning disabilities, whose letters are difficult to read because they never learned to write properly. Comic books/manga are common requests from low-literacy people because they can look at the pictures.

Prison book programs are usually not well funded and must ration how often incarcerated people can write us and how often they can request certain types of high-demand books. Volunteers frequently find there are no suitable books to fill a request and buy books with their own money to make sure someone gets what they’ve asked for. Cash donations to prison book programs will go to buying high-demand books such as dictionaries, GED prep, and other basic education texts.

See if you have a program like this in your area, and consider volunteering or donating books or money. There are over 2 million people incarcerated in the US, and giving them access to books is the very least we can do.

[the-badger-mole]

What is your NUMBER ONE headcannon for each person in the Gaang (Katara, Zuko, Aang, Toph, Sokka, Suki [and Appa and Momo if you feel so inclined])

Katara: After the war, she goes back to the NWT to train with Yugoda and becomes a master healer as well as a master of the NWT fighting style. From there, she goes back to the Foggy Swamp Tribe and masters their bending style, too. With the help of Sokka, Zuko, and (in some headcanons) Hama, she also rediscovers SWT waterbending and not only masters it, but teaches it to the new benders in the SWT. By the time she leaves the SWT, there has been a school established where all bending styles are available for study. She's one of the few who actually has mastered them all, though.

Sokka: He is eager to return home after the war. He throws himself into infrastructure and policy revamps, and he almost singlehandedly staves off the soft colonization attempts of the NWT. Under his efforts, the SWT rebuilds and reestablishes parts of its culture that had been lost during the war. With the discovery of oil on SWT land, he is also instrumental in establishing eco minded extraction techniques, and in trade ties with the rest of the world (although he is very much helped by his sister's deep ties with the Fire Lord). It's a surprise to no one when he's chosen to lead the SWT after Hakoda retires.

Toph: She does not become a cop. Instead, she goes back home and takes over the Earth Rumble, taking it from an underground even to a world wide phenomenon. She eventually allows benders of other elements to join, and the Earth Rumble becomes pro bending. She does also establish a metal bending school. In the end, she is wealthier than her parents, but because she couldn't really care less about money, she keeps enough to live at the standard she wants, and gives the rest away to causes that interest her...like the guy who wanted to set the record for the biggest bao bun ever, and needed funding for an oven big enough to cook it. She also establishes a halfway house for runaway teens.

Zuko: During his tenure as Fire Lord, he establishes a robust social services program that includes subsidized healthcare, education, and housing for the lowest income families. Under his reign, the Fire Nation becomes home to some of the earliest pioneers of mental health. At his wife's advice, he also makes paid maternity leave standard across the nation, and includes several programs to help single parents stay afloat. Taking inspiration from the SWT, Zuko makes some changes to how his advisory staff is selected. Instead of choosing from among the nobility, Zuko has the different provinces elect a representative to speak on their behalf. A lot of the nobles hate this, blaming his wife's influence, but the people adore their monarchs and despite their best efforts, there's little the nobles can do except start campaigning in their home provinces. It's not a perfect system, but it does open the door for the Fire Nation to end the monarchy within a couple of generations.

Suki: She continues to lead the Kyoshi Warriors for a few years after the war. She also helps train troops around the world as they pivot from active war service to more local work. She helps establish something like the coast guards for several different countries. Eventually she retires from that to help her husband run the SWT. She and Sokka make a wonderful team as he handles the domestic policies and she handles foreign affairs. She often jokes with her sister in law, Fire Lady Katara that they ended up with the same job.

Aang: I'll go with my most optimistic headcanon for him. He's an okay Avatar. Not great. Not the worst. After the war, he tries to take part in rebuilding efforts around the world, but he finds his help isn't needed much. He turns his attention back to salvaging what's left of the Air Nomad legacy, and discovers that there are actually airbenders still around. A few of them are even interested in learning to live like the Air Nomads. Many of them aren't, though, and after learning how to actually use their powers, they go off and do their own thing. To Aang's shock and dismay, eating meat has no effect on the strength of their bending, He does learn to deal with it and enjoy his time with the air benders who embrace the Air Nomad culture. He does go on to have kids, and he still favors the benders over the nonbenders. Ultimately, his legacy as Avatar boils down to taking Ozai's bending, and that's it.

[probablyasocialecologist]

I’m not saying that the Global South should immediately accept the principles of degrowth. We need to build more roads, buildings, schools, and hospitals. We also need to make more power plants and solar panels.  But I think even when they grow, they should place more importance on satisfying basic needs rather than making things more profitable and competitive, which is how development has been imposed by the World Bank through structural adjustment programs [conditions on loans from the International Monetary Fund and the World Bank that require developing countries to encourage privatization and free trade]. We need different models of development in the Global South.  There will be, of course, more usage of resources and energy in countries in the Global South, because right now they are under-consuming. Their development necessarily involves more consumption of energy and resources. That creates some pressure on planetary boundaries. So that means that the Global North needs to consciously degrow because it is over-developing, and has excessive production and consumption. 

Slow down, do less: A Q&A with the author who introduced ‘degrowth’ to a mass audience

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[niqhtlord01]

Humans are weird: Prank Gone Wrong

( Please come see me on my new patreon and support me for early access to stories and personal story requests :D https://www.patreon.com/NiqhtLord Every bit helps)

“Filnar Go F%$@ Yourself!” was possibly the most disruptive software virus the universe had ever seen.

The program was designed to download itself to a computer, copy the functions of existing software before deleting said software and imitating it, then running its original programming all the while avoiding the various attempts to locate and remove it by security software.

What was strange about such a highly advanced virus was that it did not steal government secrets, nor siphon funds from banking institutions, it ignore critical infrastructure processes, and even bypassed trade markets that if altered could cause chaos on an unprecedented scale. The only thing the software seemed focused on was in locating any information regarding the “Hen’va” species, and deleting it.

First signs of the virus outbreak were recorded on the planet Yul’o IV, but once the virus began to migrate at an increasing rate and latched on to several subroutines for traveling merchant ships things rapidly spiraled out of control. Within a week the virus had infected every core world and consumed all information regarding the Hen’va. It still thankfully had not resulted in any deaths, but the sudden loss of information was beginning to cause other problems.

Hen’va citizens suddenly found that they were not listed as galactic citizens and were detained by security forces on numerous worlds. Trade routes became disrupted as Hen’va systems were now listed as uninhabited and barren leading to merchants seeking to trade elsewhere. Birth records and hospital information for millions of patients were wiped clean as they now pertained to individuals who did not exist.

Numerous software updates and purges were commenced in attempting to remove the virus. Even the galactic council’s cyber security bureau was mobilized for the effort, but if even a single strand of the virus’s code survived it was enough to rebuild itself and become even craftier with hiding itself while carrying out its programming. This was made worse by the high level of integration the various cyber systems of the galaxy had made it so the chance of systems being re-infected was always high.

After ten years every digital record of the Hen’va was erased from the wider universe. All attempts to upload copies were likewise deleted almost immediately leaving only physical records to remain untouched.

To combat this, the Hen’va for all official purposes adopted a new name; then “Ven’dari”. In the Hen’va tongue in means “The Forgotten”, which is rather ironic as the Hen’va have had to abandon everything about their previous culture to continue their existence. The virus had become a defacto component of every computer system in the galaxy and continued to erase all information related to the Hen’va. Even the translator units refused identify the Hen’va tongue and so the Ven’dari needed to create a brand new language.

It wasn’t until another fifty years had passed before the original creator of the virus stepped forward and admitted to their crime. A one “Penelope Wick”.

At the time of the programs creation Ms. Wick was a student studying on Yul’o IV to be a software designer. While attending the institution Ms. Wick stated that a fellow student, a Hen’va named “Filnar”, would hound her daily. He would denounce her presence within the school and repeatedly declared that “what are the scrapings of humans compared to the glory of the Hen’va?”

The virus was her creation as a way of getting back at the student for his constant spite. Ms. Wick was well aware of the dangers it could pose if released into the wild and so had emplaced the limitation that the virus would only infect computers on site with the campus. The schools network was setup that students could only work on their projects within the confines of the institution to ensure they did not cheat and have others make them instead. What she had not counted on was this rule only applied to students and not teachers. So when a teacher brought home several student projects to review and then sharing those infected files with their personal computer, the virus then gained free access to the wider planets networks.

When the Ven’dari learned of this there were several hundred calls for Ms. Wick to be held accountable for her actions, and nearly twice as many made to take her head by less patient individuals who had seen their entire culture erased. Much to their dismay Ms. Wick died shortly after her confession from a long term disease that had ravaged her body for several years.

Much to her delight, she had achieved her goals of removing the source of her mockery.

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[fans4wga]

[September 1] Don’t Fall For Hollywood Bosses’ New PR Spin

'Today marks the 122nd day of the Writers Guild of America (WGA) strike and 48th day of the Screen Actors Guild and American Federation of Television and Radio Artists (SAG-AFTRA) strike. The dual work stoppages have brought Hollywood to a standstill, with production halted on films and television programs, and premieres and other promotional events either scaled back or canceled. Both guilds are striking over demands that are more than reasonable, particularly given studio executives’ record pay. These demands include fair compensation for streaming media (particularly better residuals, which currently pale in comparison to what they are for network and cable broadcasts), robust studio support for health and retirement funds, and safeguards around the use of artificial intelligence. (For more on why WGA and SAG-AFTRA are on strike, read the excellent reporting of Jacobin’s Alex Press). 

In a move that has shocked…pretty much no one, Hollywood bosses don’t want to share their earnings with the very storytellers responsible for generating them. At the same time, they’re happy to make workers pay the cost for their own miscalculations about streaming.

The major Tinseltown studios – organized under the Alliance of Motion Picture and Television Producers (AMPTP) trade association – remain stubbornly opposed to striking a fair deal with either guild. Under the leadership of AMPTP president Carol Lombardini, studios have employed brutal tactics to bust the strike, including threatening to drag things out until writers lose their homes and using management-friendly trade publications to pressure the guilds into accepting lowball offers. These tactics have backfired spectacularly: not only have they failed to end either strike, but they’ve also turned the public overwhelmingly against the AMPTP. A new Gallup poll finds that Americans back the WGA over the AMPTP by 72% to 19%, and SAG-AFTRA over AMPTP by 64% to 24%.

Aware of their reputational damage (but willfully ignorant of the anti-worker attitude that caused it), the AMPTP announced a “reset” to its approach this week – not by negotiating in good faith or meeting the guilds’ demands, but by hiring a pricey crisis-management PR firm to revamp its image! According to Deadline, the AMPTP has hired The Levinson Group – a D.C.-based PR shop best known for representing the U.S. Women’s  National Soccer Team in its campaign for pay equity – to “reframe the big picture for studio and streamer CEOs who have been characterized as greedy, imperious and out of touch.”

If you’re feeling like you’ve seen this movie before, you’re not wrong. During the last WGA strike 15 years ago, studio bosses hired former Clinton comms strategists Mark Fabiani and Chris Lehane to revive the AMPTP’s flagging public image. The revolving-door duo were paid a jaw-dropping $100,000 per month by the AMPTP to strike-bust, deploying campaign-style spin attacks designed to break the WGA’s resolve. 

As I wrote for The American Prospect in May:

“Fabiani and Lehane created a website with a live tally of the millions of dollars in income that guild members and on-set crew had purportedly lost by striking. They urged studio CEOs to publicly refer to WGA representatives as “organizers” rather than “negotiators” because the former “sound[ed] more Commie.” Lehane even told the press at one point that striking writers were “making more than doctors and pilots,” cynically arguing that the strike was harming “real working-class people” like below-the-line workers who had lost income from struck late-night talk shows […] Fabiani and Lehane were [also] the brains behind a “strongly worded and downright menacing” AMPTP press release breaking off negotiations with the WGA in December 2007. This move allowed the studios, which cited a protracted strike as an “unforeseeable event,” to invoke force majeure contract clauses and cancel multiple writer-producer deals worth tens of millions of dollars, severely demoralizing the WGA’s rank-and-file members.”

The parallels between 2008 and today are striking. Like Fabiani and Lehane (who have worked for scandal-plagued clients like Gray Davis, Bill O’Reilly, Lance Armstrong, and Goldman Sachs) the Levinson Group has no qualms about representing greedy and unsavory characters. Over the years, Levinson has done PR for predatory student lender Better Future Forward, reviled monopolist Live Nation/Ticketmaster, a talc mining company linked to the Johnson & Johnson baby powder cancer scandal, and Theranos fraudster Elizabeth Holmes. 

And just like the ex-Clinton spin doctors, the Levinson Group boasts close revolving-door ties to powerful politicians and the news media. The firm currently represents President Biden’s personal attorney Bob Bauer and previously represented John Podesta’s family lobbying firm. Levinson partners have previously worked for an array of influential politicians, including former President Bill Clinton, Senators Jon Tester and Amy Klobuchar, Representatives Maxine Waters and Ted Lieu, and former and current Los Angeles Mayors Eric Garcetti and Karen Bass. The firm’s founder and CEO Molly Levinson spent eight years working for CNN and CBS, while two of the Levinson Group’s top managing directors are alumni of CNBC and The Wall Street Journal. With a web of strong connections to power players in the entertainment industry’s twin capitals of LA and New York, along with the nation’s capital, Levinson could help the AMPTP tilt the regulatory and media scales back in the bosses’ favor. 

Though this may sound demoralizing, striking writers and actors shouldn’t lose hope. For one, consider a surprisingly uplifting parallel between 2008 and 2023. Fifteen years ago, after Fabiani and Lehane took the AMPTP’s contract, the SEIU and other unions that had previously worked with the duo severed ties with them for trying to bust the writers’ strike. Fast forward to this week: the U.S. Women’s National Soccer Team Players Association (Levinson’s star client!) publicly rebuked the firm for doing the AMPTP’s dirty work and voiced support for the dual WGA and SAG-AFTRA strikes. If history is any indication, it’s only a matter of time until other pro-union Levinson clients – like the majority SEIU-owned Amalgamated Bank – follow suit and sever ties with the firm. 

There is also one crucial way in which 2023 is thankfully not like 2008: The Levinson Group is bad at their jobs. 

Consider an August 27th New York Times article about AMPTP President Carol Lombardini*, which was almost certainly pitched or otherwise molded by Levinson flacks. The article goes to ridiculous lengths to rehabilitate Lombardini’s image:

The article passively describes Lombardini’s tenure as “marked by labor peace until now” (a peace that she has now broken) and shifts blame for her unpopular decisions to anonymous AMPTP members (how convenient!).

Article co-authors Brooks Barnes and John Koblin quote a 2014 email from then-WarnerMedia CEO Kevin Tsujihara praising Lombardini’s negotiation skills and recommending she receive a $365,000 bonus. Curiously absent from the article is any mention of Tsujihara’s high-profile 2019 resignation from WarnerMedia for pressuring actresses into non-consensual sex.

Barnes and Koblin attempt to paint a “she’s just like us” picture of Lombardini (who reportedly earns a $3 million annual salary), mentioning her upbringing in a “working-class town outside Boston” and love for Red Sox and Dodgers games.

Barnes and Koblin paint a rosy picture of the AMPTP’s “sweetened proposal” (their words) to the WGA, describing the studios’ August counteroffer as “including higher wages, a pledge to share some viewership data and additional protections around the use of artificial intelligence.” Barnes & Koblin never quote the WGA’s well-founded reasons for turning down this lowball offer, saying only that the WGA is “holding firm to demands related to staffing minimums and transparency into streaming-service viewership.”

Bizarrely, the core issue of underpaid streaming residuals (the main reason writers are demanding greater streaming transparency) is never mentioned in the article.

Barnes and Koblin frequently imply that criticism of Lombardini is unfair, describing her as an “easy target” for the “grievances of striking workers” and singling out a tweet purportedly “mocking [Lombardini] as a fuddy-duddy who hangs out at chain restaurants”.

Barnes and Koblin quote a pre-strike September 2022 Deadline interview with Teamsters organizer Lindsay Dougherty to claim that Lombardini has the “grudging respect” of union leaders who see her as a “fair individual.” They did not quote more recent statements from Dougherty, who last month tweeted that the “greedy” AMPTP had “declared war on Hollywood Labor” by refusing to negotiate in good faith with WGA and SAG-AFTRA.

In one unintentionally eyebrow-raising line, Barnes and Koblin state that Lombardini was “inspired to become a lawyer by reading articles about F. Lee Bailey.” Neither Bailey’s sordid clients (like OJ Simpson) nor his multiple disbarments are mentioned in the article.

And it’s not just me who finds the Levinson Group’s efforts laughable. Discussions of the NYT story on Reddit and Twitter are dominated by comments tying the story’s blatant reputation laundering for Lombardini to the AMPTP’s concurrent hiring of Levinson. A recent New Yorker puff piece on Warner CEO David Zaslav has been met with similar ridicule – with many commenters also pointing to Levinson’s potential influence. So too have recent stories from management-friendly trades like Deadline – all of which have failed to make a dent in strong public support for WGA and SAG-AFTRA. This is a good sign: not only is the public more inclined to side with striking workers than it was in 2008 – it’s also seemingly more attuned to the role of corporate PR flacks in shaping the media narrative. If studio bosses think they can remake the same movie and end another strike with flashy spin-doctors, they’re sorely mistaken. 

So here’s my advice to the AMPTP (and it won’t cost you six figures per month to hear it): the way to fix your reputation problem is to end the strike by giving writers and actors what they want. No strike-busting comms team can rescue you from the hole you’ve dug yourself into. 

As the LA Times’ Mary McNamara recently put it, “You’ve lost the war. The best thing to do now is negotiate the terms of surrender.”'

[visit-new-york]

100 Most Fascinating Facts About the Empire State Building

The Empire State Building, located in the heart of Manhattan, New York City, is an iconic skyscraper and one of the most famous landmarks in the world.

Construction of the Empire State Building began on March 17, 1930, and was completed in just 410 days, opening its doors to the public on May 1, 1931.

Standing at a staggering height of 1,454 feet (443.2 meters), including its antenna, the Empire State Building was the tallest building in the world when it was completed. It held this title for nearly 40 years until the completion of the World Trade Center's North Tower in 1970.

The Empire State Building has 102 floors, with 86 of them being used for office space, and it houses numerous businesses and organizations.

The building was designed by architect William F. Lamb, who worked for the architectural firm Shreve, Lamb & Harmon Associates. The design was inspired by the Art Deco style, which was prevalent in the 1930s.

It cost approximately $40 million to build the Empire State Building, which would be equivalent to over $700 million in today's money when adjusted for inflation.

The building's construction was completed during the Great Depression, and it was often referred to as the "Empty State Building" during its early years due to the difficulty of finding tenants for the office spaces.

To finance the construction, the Empire State Building was funded by a group of wealthy investors, including John J. Raskob, a financier and businessman.

The building's exterior is clad in Indiana limestone and granite, giving it a distinctive and elegant appearance.

The Empire State Building's famous Art Deco spire was originally intended to serve as a mooring mast for dirigibles, but the idea was quickly abandoned due to safety concerns and strong winds at such heights.

The building's construction progressed at a remarkable rate of four and a half stories per week, an unprecedented speed for that time.

During the construction, five workers tragically lost their lives, and they are honored with a memorial plaque inside the building.

The Empire State Building has a total of 73 elevators, including service elevators, and it takes just 45 seconds to reach the 86th-floor observatory from the ground floor.

The building's 86th-floor observatory offers breathtaking panoramic views of New York City and has been visited by millions of tourists from around the world.

Notable visitors to the Empire State Building include several world leaders, celebrities, and even fictional characters like King Kong in the classic 1933 film.

The Empire State Building was the location of several daredevil stunts and record-breaking feats, including the famous race to the top between a man and an elevator.

The building's official lighting system can be programmed to display various colors and patterns during different events and celebrations, making it a striking presence in the New York City skyline.

Every year, on Independence Day, the Empire State Building participates in the Macy's Fourth of July Fireworks display, illuminating the night sky with a colorful show.

In 1964, the Empire State Building was designated as a National Historic Landmark, recognizing its cultural and historical significance.

The building's observatories are open to the public year-round, and they are especially popular during the annual Empire State Building Run-Up event, where participants race up the stairs to the 86th floor.

The iconic scene from the movie "Sleepless in Seattle," where Tom Hanks and Meg Ryan meet on the observation deck, has become a quintessential romantic movie moment.

The Empire State Building has been featured in numerous movies, TV shows, and music videos, cementing its status as a symbol of New York City and an emblem of urban life.

On a clear day, visitors to the observatory can see up to five states: New York, New Jersey, Pennsylvania, Connecticut, and Massachusetts.

The building has experienced several incidents of lightning strikes, but its construction materials safely disperse the electrical charge, keeping it relatively safe during storms.

The Empire State Building's Art Deco lobby is adorned with beautiful murals and decorative elements, transporting visitors back to the glamour of the 1930s.

A famous photograph called "Lunch Atop a Skyscraper" was taken during the construction of the building, showing construction workers casually sitting on a steel beam high above the city.

The Empire State Building has appeared in various video games, becoming a recognizable virtual landmark in games set in New York City.

The building's famous spire has undergone several alterations and changes over the years, including the addition of a television broadcasting antenna.

An observation deck is located on the 102nd floor, offering an even higher vantage point for those willing to climb a few more flights of stairs.

During the annual Empire State Building Run-Up, the fastest recorded time for ascending to the 86th floor is just under 10 minutes.

The building's exterior lights are often coordinated to support important causes, such as lighting up in specific colors to raise awareness for charitable events and holidays.

The Empire State Building's lobby houses a scale model of the building, offering visitors a close-up look at its architectural features and design.

The Empire State Building's design and construction techniques were considered innovative for their time, and many of its principles have influenced the development of future skyscrapers.

The building's façade features intricate stone carvings, depicting various animals and mythological creatures, adding a touch of artistry to its exterior.

The Empire State Building was the first building to have more than 100 floors, making it a true marvel of engineering and architectural achievement.

The building's steel frame weighs around 57,000 tons, and the total weight of the building, including its contents, is estimated to be over 365,000 tons.

In 1945, a B-25 bomber crashed into the Empire State Building's 79th floor in dense fog, resulting in 14 fatalities and significant damage to the building.

The Empire State Building's architecture has served as inspiration for various skyscrapers and buildings around the world.

The building's height, including its antenna, is precisely 1,454 feet and 8 9/16 inches (443.2 meters), making it an engineering marvel to achieve such precision during the 1930s.

The Empire State Building has been featured in numerous songs, poems, and works of literature, cementing its status as a symbol of ambition, progress, and the American Dream.

The building's main lobby features a stunning ceiling mural titled "American Progress" by artist Roy Sparkia, depicting the rise of New York City.

A bronze plaque on the ground floor commemorates the visit of President Franklin D. Roosevelt, who turned on the building's lights with a push of a button on May 1, 1931.

The Empire State Building was the location of a unique event in 1951 when Kathryn Johnston became the first woman to be married on the building's observatory.

In 1980, the exterior of the Empire State Building was designated as a city landmark, ensuring its preservation for future generations.

The Empire State Building's prominence as a symbol of American industrial prowess and architectural excellence was further solidified by its inclusion in the Great Seal of New York City.

The building has been featured on several postage stamps issued by the United States Postal Service, further showcasing its iconic status.

The Empire State Building played a significant role in numerous movie plots, and its imposing presence has served as a backdrop for memorable cinematic moments.

The building's immense height allows it to be visible from various points across New York City, making it a guiding landmark for many residents and tourists.

The Empire State Building was depicted in the 1983 video game "King Kong," where players climbed the building to rescue the titular character.

The building's observation decks have hosted numerous special events, including weddings, proposals, and even a high-wire walk by daredevil Philippe Petit in 1974.

The Empire State Building is an energy-efficient building, and it has earned a Leadership in Energy and Environmental Design (LEED) Gold certification for its sustainability practices.

The annual Empire State Building Run-Up attracts participants from around the world, with many athletes and fitness enthusiasts challenging themselves to conquer the stairs.

The building's 86th-floor outdoor observatory has been featured in movies like "An Affair to Remember" and "Sleepless in Seattle" as a place where couples can share special moments and breathtaking views.

The building's observation decks have been the setting for several world records, including the highest concert and the highest-flying paper airplane launch.

On a windy day, the Empire State Building sways gently, and the topmost floors can sway up to several feet due to its flexibility and structural design.

The Empire State Building has appeared in numerous comic books and graphic novels, often serving as a backdrop for superhero battles and epic showdowns.

The building's observatories are equipped with high-powered binoculars to allow visitors to get a closer look at various landmarks and attractions across the city.

The Empire State Building has been featured in various virtual reality experiences, allowing people from around the world to explore its heights without leaving their homes.

The Empire State Building's façade lighting is often used to commemorate special occasions, such as holidays, national events, and philanthropic initiatives.

During the Christmas season, the Empire State Building is illuminated with festive colors, and a large Christmas tree is displayed in the lobby.

The building's observatories are open until midnight, offering visitors a chance to experience the stunning nighttime views of the city that never sleeps.

The Empire State Building's central location in Midtown Manhattan makes it a convenient starting point for tourists exploring the city's many attractions.

The Empire State Building has been featured in video games like "Grand Theft Auto IV" and "Crysis 2," allowing gamers to interact with a virtual representation of the iconic structure.

On a clear night, the Empire State Building's lights can be seen from miles away, creating a mesmerizing sight in the New York City skyline.

The building's annual lighting of the tower in blue on April 15th marks the start of Autism Awareness Month, showing its support for autism-related initiatives.

The Empire State Building has been depicted in countless postcards, souvenirs, and artworks, becoming an emblem of New York City's skyline.

The building's iconic mast and tower were originally intended to serve as docking points for airships, but advancements in aviation technology rendered this idea impractical.

In 1947, a United States Army Air Force B-25 Mitchell bomber successfully made a round-trip flight between New York City and Bermuda, proving the feasibility of commercial transatlantic flights.

The Empire State Building was featured in the climactic battle scene of the 2012 film "The Avengers," where the superheroes fought off an alien invasion from the top of the building.

The Empire State Building has appeared in numerous disaster movies, where it is often destroyed or damaged by earthquakes, tidal waves, and alien invasions.

The building's observatories offer a clear view of the Statue of Liberty, Ellis Island, Central Park, and other iconic New York City landmarks.

The Empire State Building's interior spaces have been used as sets for various film and TV productions, including commercials, documentaries, and music videos.

On special occasions, the Empire State Building's lights synchronize with music, creating stunning light shows visible from various vantage points around the city.

The building has served as a popular backdrop for fashion shoots, with models posing on its observation decks or in front of its grand entrance.

The Empire State Building was the tallest building in the world when it was featured in the classic 1933 film "King Kong," where the giant ape climbed to the top.

The building's annual Empire State Building Run-Up attracts participants from various backgrounds, including professional athletes, firefighters, and fitness enthusiasts.

The Empire State Building has been a popular destination for marriage proposals, with its breathtaking views providing a romantic setting for couples in love.

The building's observation decks have hosted a variety of events, including live music performances, book signings, and art exhibitions.

The Empire State Building's design incorporates setbacks, creating a distinctive and recognizable silhouette on the Manhattan skyline.

The Empire State Building has been featured in numerous post-apocalyptic movies, symbolizing the endurance of human architecture in the face of catastrophe.

The building's height makes it an ideal location for various telecommunication antennas, broadcasting radio, television, and mobile signals to the city.

The Empire State Building is lit up in blue and white in honor of the annual International Day of Peace on September 21st, promoting global harmony.

The building's interior lobby and halls have appeared in several period dramas and historical movies, evoking the elegance of the Art Deco era.

In 1994, a Norwegian base jumper successfully parachuted from the top of the building, landing safely on the streets of Manhattan.

The Empire State Building has served as a focal point in various New Year's Eve celebrations, with its lighting being an integral part of the festivities.

The Empire State Building has been used in art installations and performance pieces, exploring themes of urbanization, identity, and human experience.

The building's observation decks have been visited by numerous celebrities and dignitaries, from movie stars to political leaders from around the world.

The Empire State Building's Art Deco style has inspired interior designs, fashion trends, and architectural elements in buildings worldwide.

The Empire State Building has been depicted in animated movies and TV shows, capturing the imaginations of younger generations.

The building's grand entrance features exquisite decorative bronze doors, with intricate reliefs and ornamental details.

The Empire State Building has been featured in numerous books and documentaries that explore its history, engineering, and cultural significance.

The building has been the subject of various art projects, including paintings, sculptures, and installations, showcasing its allure as an artistic muse.

The Empire State Building has served as a symbol of resilience, representing New York City's ability to recover and rebuild after the tragic events of September 11, 2001.

The building's observatories have been visited by prominent figures in history, including Queen Elizabeth II, Princess Diana, and the astronaut Neil Armstrong.

The Empire State Building's annual Halloween lighting event sees the top of the building bathed in orange and other eerie colors, adding a spooky touch to the city's skyline.

The building's observatories have been used to conduct scientific research, such as atmospheric studies and meteorological observations.

The Empire State Building was featured in the 2005 film "King Kong," where the giant ape climbed to the top once again in a modern retelling of the classic story.

The building's exterior and observatories have been a popular filming location for various TV shows, commercials, and music videos.

The Empire State Building has been featured in the backdrop of countless wedding photographs, becoming an iconic symbol of love and commitment.

As one of the most recognizable buildings in the world, the Empire State Building continues to be a symbol of human achievement, architectural excellence, and the spirit of New York City. Its enduring appeal and timeless beauty ensure its place in history for generations to come.

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The Hanford nuclear site was established in 1943 as part of the Manhattan Project, and over the next four decades produced nearly two-thirds of the plutonium for the US’s nuclear weapons supply, including the bomb dropped on Nagasaki.

During its lifespan, hundreds of billions of gallons of liquid waste were dumped in underground storage tanks or simply straight into the ground. After the site’s nine nuclear reactors were shut down by 1987, about 56m gallons of radioactive waste were left behind in 177 large underground tanks – two of which are currently leaking – alongside a deeply scarred landscape.

In the decades since, the Yakama Nation has been one of four local Indigenous communities dedicated to the cleanup of this historic landscape. For the Yakama Nation, that has meant tireless environmental and cultural oversight, advocacy and outreach with the hope that one day the site will be restored to its natural state, opening the doors to a long-awaited, unencumbered homecoming.

Today, their outreach work has reached a fever pitch. There are few Yakama Nation elders still alive who remember the area before its transformation, and there are likely decades to go before cleanup is complete. So members are racing to pass on the site’s history to the next generation, in the hopes they can one day take over.

Yakama Nation history on the Hanford site dates back to pre-colonization, when people would spend the winter here fishing for sturgeon, salmon and lamprey in the Columbia River, as well as gathering and trading with other families. In 1855, the Nation ceded over 11m acres of land to the US, which included the Hanford area, and signed a treaty that relegated them to a reservation while allowing the right to continue fishing, hunting, and gathering roots and berries at “all usual and accustomed places”.

But in the 1940’s, the situation shifted dramatically when the area was cleared out to make room for the construction of nuclear reactors.

LaRena Sohappy, 83, vice-chairwoman for Yakama Nation General Council, whose father was a well-known medicine man, grew up in Wapato, about 40 miles from Hanford. She said she remembers the strawberry fields that lined the Hanford site, her family gathering Skolkol, a root and daily food, and traveling to the area for ceremonies.

Her cousin’s family who lived close to Hanford were woken in the middle of the night and forced to leave to make way for the nuclear site, she recalled

“They didn’t have time to pack up anything,” said Sohappy. “They just had to leave and they were never told why and how long they were going to be gone.”

The effort to give Indigenous people a voice in Hanford’s fate was forged in part by Russell Jim, a member of Yakama Nation’s council, whose work has been credited with helping to keep Hanford from becoming a permanent “deep geologic repository”, a place where high-level nuclear waste from this site and others across the country would be stored.

“From time immemorial we have known a special relationship with Mother Earth,” Jim, who died in 2018, said in a statement to the US Senate in 1980. “We have a religious and moral duty to help protect Mother Earth from acts which may be a detriment to generations of all mankind.”

Today, the ER/WM program, which was founded in the early 1980’s with Jim at the helm, includes such staff as a biologist, ecologist and archeologist. It’s funded by the US Department of Energy (DoE), which operates the Hanford site and leads the cleanup process under an agreement with the US Environmental Protection Agency (EPA) and the Washington state department of ecology.

The Yakama Nation program’s focus is on accelerating a thorough cleanup of the site, protecting culturally significant resources and assessing the threats to wildlife and water.