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Charles Beersman was thirty-one when he began designing the Wrigley Building, young even in those days for such a major commission. Why he was given this break is unknown. From the very beginning, however, it is clear that he developed close bonds with Peirce Anderson and William Wrigley. He likely started with a sketch, as he was taught by Paul Cret all those years ago at the University of Pennsylvaniaa quick drawing of the facade and footprint and probably a detail of the clock tower. But before that, he would have walked the site and reviewed all the data relating to dimensions and square footage. More importantly, he would have met with William Wrigley, probably more than once, and questioned him about his plans for the building and what he hoped it would convey in terms of the company and its product. Years later, Beersman would tell his daughter that Wrigley was his favorite client. It is easy to see why. Wrigleys approach to architecture was in many ways identical to his approach to marketing. Be anything but ordinary! Stand out, make people notice you, give them something that feels like a gift. And dont take yourself too seriously. For Beersman, it was an open-ended invitation to dig deep into his imagination and create something extraordinary. William Wrigley (Left) and Charles Beersman. Chicago debut Beersman would also have been aware that the building would be his debut in Chicago and would determine how he was regarded for the remainder of his career. Ironically, the architect would never again have the freedom he enjoyed with this project. The building was and is unique, the product of a certain moment and of personalities who came together to create a lasting work of art. It also marked the last time Beersman would channel his mentor, Julia Morgan, in so forthright a manner. (In some ways the Wrigley Building is Morgans Los Angeles Examiner Building lobby turned inside out.) The uniqueness started with a site that was both advantageous and problematic. Advantageous because of its visibility. Fronting on the river and a vast new plaza, whatever was built there would dominate the Near North landscape for miles. Problematic because of its shape and dimensions. A true Beaux-Arts building is by nature completely symmetrical. The Wrigley Building, however, is completely asymmetricalcockeyed all the way around, as Williams son, Philip, later characterized it. There was also the added challenge of the Wrigley being a four-sided building. Most buildings are four-sided, of course, but most are also designed to fit into a block or a corner where two or more of those sides will never be seen. When a building sits by itself, it is held to a higher standard. It becomes an object and a form of public sculpture. (Which, of course, is precisely what Wrigley wanted offices, yes, but also a building that would be the architectural equivalent of his illuminated sign in Times Square.) “Frozen music” In 1919, the height limit for buildings in Chicago was 260 feet, with a proviso that allowed towers and other ornamental features to rise to 400 feet. The building Beersman designed was 210 feet. It had eighteen stories, two of which were below street level. The eleven-story tower soared to 398 feet. If architecture is, as Goethe famously called it, frozen music, the Wrigley is a symphonya series of movements and crescendos culminating in an explosion of ornamentation at the apex of its clock tower. The tower is at the heart of the buildings undeniable grandeur. The facade of the Wrigley is divided into what was then the typical Beaux-Arts arrangement of base, shaft, and capital or cornice. There are ornamental stringcourses at the third, fourth, fourteenth, and fifteenth levels, and the four- teenth level includes a flock of terra-cotta eagles with wings spread wide that gently lift the upper floors. At the top is an exquisite grouping of unoccupied spires and setbacks that serve as a transition to the eleven-story tower. A magnificent four-sided clock with faces 20 feet in diameter occupies the eighth and ninth floors. The clock hands were made of pine soaked in oil and painted black. The hour hands are 7 feet long, and the minute hands are 11 feet long. The floor above the clock was officially unoccupied but was designated for use as an observation deck. Above that is a circular Greek temple, which in turn is topped by a lantern and a crocketed spire. The lantern originally contained a flashing red and white beacon that was visible for twenty miles. Upon completion the Wrigley was the tallest building in the city, although it would hold the title only briefly. Structurally, the Wrigley is a typical steel-frame Chicago high-rise of its period, with fifty caissons encased in concrete going down 100 feet to bedrock. But almost everything else about it derives not from Chicagoa city Beersman had never visitedbut from the metropolises Beersman knew best: San Francisco and New York. A mash-up of masterpieces The completed building is basically a mash-up of two Renaissance masterpiecesthe Château de Chambord in Frances Loire Valley and the Giralda Tower in Seville, Spainwith additional inspiration provided by McKim, Mead & Whites Municipal Building in lower Manhattan. Whether Beersman saw either of the first two on his 1914 sketching tour is unknown, but he would definitely have been familiar with the third, as he was living and working in New York when it was completed. The Château de Chambord is an immense 440-room castle built as a hunting lodge for King Francis I over a twenty-eight-year period starting in 1519. No definite architectural attribution has been found, but it is likely that Leonardo da Vinci played some role in the design. The artist and inventor lived not far from the site, and several of Chambords most notable featuresincluding an ingenious double staircase and a surprisingly modern latrine systemare described in da Vincis famous notebooks. The château is also renowned for its skylinea dazzling collection of highly ornamented turrets and towers executed in glistening white limestone that novelist Henry James described as an exaggeration of an exaggeration. And then there are the salamanders. Francis I took as his emblem the mythological salamander, a creature that supposedly could live in fire. Architectural historians have counted more than three hundred depictions of salamandersmany wearing crownsthroughout Chambord. Beersman would re-create many of these featuresincluding the salamandersat the Wrigley Building. The Giralda Tower began as a minaret for a mosque in 1198 but did not achieve its final form until it was renovated into a bell tower in 1528, long after the mosque had been converted into a Christian cathedral. The heavily ornamented square tower is constructed of brick and marble and is 323 feet tall. At the top is a 19-foot metal sculpture of a womanLa Giraldathat doubles as a weathervane. (The word giralda is Spanish for she who turns.) A collection of spare parts? Does this mean that the Wrigley Building is nothing but a collection of spare parts? Not at all. Château de Chambord, the Giralda Tower, and the Municipal Building represent ideas and archetypes that are endlessly mutable and adaptable. Beersmans geniusand the ultimate greatness of the Wrigley Buildingrelates to the uses he makes of these venerable models. For example, the original Giralda Tower has the weight and ruggedness one associates with load-bearing structures. Beersmans interpretation, however, which includes steel construction, has the lightness and opalescent beauty of a pearl necklace. Due to the Wrigleys irregular dimensions, it functions almost as a prism, with different views from different directions. The view from the south is romantic. One journalist wrote, At a distance of about a mile, one becomes suddenly conscious of the new presence . . . one can see the tower in all the airy grace of its many pinnacles and turrets much as one might glimpse the towers of some distant castle set on a rock. The east facade, meanwhile, provides the illusion of symmetry and has a compressed verticality thatcombined with the explosive energy of the clock towercreates a thrilling sensation of upward thrust. And then theres the north facade, which is startlinga huge, sharp dominating prow, for the Wrigley building is only five feet wide at that point, wrote one journalist. It seems to cut the air and to be slowly bearing down on the spectator with an awful majesty quite overpowering. It clearly references D. H. Burnham & Companys Flatiron Building in New York, another structure that makes a virtue of its irregular site. Radiating joy In a city of mainly dark brown and dull gray buildings, the Wrigley stands out for its bold coloration. The facade is enameled terra-cotta in six different shades of white, starting with snowy white at the base and gradually acquiring a yellowish tint as it rises. The effect, according to one observer, is as if the sun were always shining on its upper reaches. (In order to maintain this illusion in Chicagos then-sooty atmosphere, the china-like facade needed to be washed four times a year in the early twentieth century.) The facade was fabricated by the Northwestern Terra Cotta Company, a Chicago-based firm with a long history of working both with Burnham and with Graham, Anderson, Probst & White on such monumental projects as the Rookery Building (1888), the Reliance Building (1894), the Fisher Building (1895), the Railway Exchange Building (1903), the Conway Building (1912), and the Continental and Commercial National Bank (1912). The Northwestern Terra Cotta Company operated out of a multi-acre complex at the corner of Clybourn and Wrightwood Avenues on the citys north side. With more than 1,500 employees, it was the largest terra-cotta firm in the country. The president was Gustav Hottinger, a Viennese immigrant who was one of the original founders of the firm in 1887. The companys reputation was such that Northwestern or better was a standard phrase inserted into contracts by architects in order to denote quality levels. As the firm that fabricated much of the terra-cotta for the architect Louis Sullivans extravgantly ornamented buildings, Northwestern was used to impossible demands. But even for Northwestern, the Wrigleys incredibly dense and compacted ornamentation was a challenge. It is an astounding menagerie Beersman has assembled here. In addition to the omnipresent salamanders, there are lions, horses, rams, eagles, raptors, crocodiles, roosters, swans, and dolphins as well as a plethora of mythological griffins, dragons, and gargoyles. Also present are cherubs and winged putti, dancing youths, grimacing satyrs, and what look to be carnival masks. All of this is in addition to twisted columns, niches, flaming braziers, stacked vases, rosettes, balustrades, molten finials, and seashell and poppy-flower cornices that embellish every available surface. The building has extraordinary animation. It radiates joy. Night lights The wildlife is depicted both in motion and at rest and with close attention to detail. Taken together, the grouping suggests that Beersman had been storing up imagery for years and was determined to use every last bit of it on this one project. Architectural ornamentation is usually limited to walls and surfaces that can be seen from the street. The Wrigley, however, has great swathes of ornamentation on the roof and tower that are all but unviewable. The ornamentation is there, presumably, to provide authenticity. As at the Château de Chambord, its implicit model, the ornamentation is part of the architecture, not an expendable add-on. (The architects of the Renaissance believed such unviewable ornamentation was meant not for humankind but for God.) The final touch was the exterior lighting, and here Beersmans early training in electrical engineering proved critical. No one knows who suggested that the building be lit at night. But the obvious inspiration was Times Square, an area famous for its nighttime effulgence. Both Beersman and Wrigley had connections to Times SquareBeersmans apartment at Westover Court was just off the square, while Wrigley had been a prominent advertiser there for many years. The system Beersman installed consisted of 198 projectors with 500-watt lamps and 16 projectors with 250-watt lamps. The total power consumption was 103,000 watts, while the cumulative candle power was more than 25 million. The system added 30,000 dollars (about 437,000 dollars today) to the budget, and it was estimated that the annual cost of operating it would come in at just under 30,000 dollars. An architecture magazine of the period commented, Although [the buildings] appearance at any time is impressive, it is particularly so at night when fully illuminated by a system which is itself unique and which is said to be the most complete illumination of a single building in the world. . . . Certainly it is for the Wm. Wrigley Jr. Co. the most striking possible form of advertising, indelibly impressing upon the minds of tens of thousands of people daily the Wrigley Chewing Gum product. Functional and businesslike The final cost of the building was 3.79 million dollars (about 60 million dollars today), almost double the initial estimate from late 1919. At $1.22 per square foot, it was one of the more expensive office buildings of its time. Money did not appear to be a problem, however. The building carried no mortgage. Wrigley paid for it out of company reserves. The higher-than-average cost must have related to the wildly embellished exterior. It certainly wasnt due to the interior. One of William Wrigleys inflexible rules of marketing was that you only spend money where people can see it. Consequently, the building has no grand interior spacesno dining rooms or boardrooms, no ballrooms or auditoriums. It was built to be as functional and businesslike as possible. Inside, the first floorwhich is actually the third floor due to the elevated roadwayhad a modestly scaled entry lobby with a vaulted ceiling and six elevator banks that occupy about one-third of the total square footage. (The rest was left open for retail tenants.) The original floor was marble, and the original plaster walls had a minimal amount of Spanish Renaissance detailing. The only hint of extravagance were the bronze fittings by the Chicago Ornamental Iron Company, another firm with a long history of partnering with Burnham and Graham, Anderson, Probst & White on various projects. The companys contributions to the interior include the elevator doors, two chandeliers, a mail chute, and a clock suspended from the ceiling. The upstairs hallways, meanwhile, had marble floors and wainscoting and mahogany doors but were otherwise unadorned. A work of staggering beauty Great buildings are always revelatory, not only about the hopes and dreams of their makers but also about the cities where they are located. Anyone can make gum, William Wrigley Jr. famously said. The trick is to sell it. Chicago was the ultimate mercantile city and the Wrigley Building was conceived as a tribute to salesmanship. But it was also a place where a group of artists and craftspeople came together to create a work of staggering beauty and complexity. That has always been the sustaining tension of Chicago architecture: art in the service of business and business in the service of art. And then, every so often, a building comes along that expresses this formula so perfectly that it becomes what the Wrigley Building isa beloved landmark and a symbol of a city that dares to dream big.Adapted from The Wrigley Building: The Making of an Icon, by Robert Sharoff, William Zbaren, Tim Samuelson and John Vinci
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E-Commerce
In late June, I was standing at an intersection in the New York City neighborhood of Harlem, at 5 a.m., surveying a row of hulking gray bins that lined the curb. Next to me, Joshua Goodman, the deputy commissioner for Public Affairs & Customer Experience at DSNY, admired his teams handiwork. We want it to be iconic, but we also kind of want it to blend in and disappear, Goodman said of the bin. Eventually we want you to walk down the street and not notice that it’s here. As the sun rose, and sleepy commuters passed by us, he explained that while these new bins are novel today, the hope is they become just another part of the streetscape. This morning, however, the European-style bins are hard to miss. Standing 3-feet wide and 5-feet tall with gently curved lids, these stationary on-street containers, officially named Empire Bins, are parked in front of large apartment buildings in Manhattans Community Board 9. They are the latest initiative from New York City to fight rats and keep the streets clean, after the city commissioned a $4 million McKinsey study that concluded that the future of trash management is cans and bins. Since the study, restaurants and residential buildings between one and nine units have had to dispose of their waste in city-sanctioned trash cans (55 gallons or less, with a secure lid), in lieu of the heaping mounds of black trash bags that used to line the streets. Then, this past April, the city unveiled the Empire Bins as the next phase of its experiment in corralling waste. These sturdy, solid receptacles replace the mountains of flimsy trash bags that rodents easily shred in order to access the nightly all-you-can-eat buffets that we set out for them. While a handful of bins debuted in a smaller 10-block area last fall, they are now in wider use. The city will evaluate the next phase of containerization after the Harlem pilot study is complete, but for now, 1,100 are spread across the pilot area. The kitchen is now closed in Manhattans Community Board 9, the citys first neighborhood to be fully containerized. [Photo: NYC Mayor’s Office] Designing the Empire Bin Framing the seemingly obvious behavior of putting trash into cans as an innovation is the butt of jokes, but for a city that generates over 14 million tons of waste a yearand stuffs smelly, leaky, flimsy trash bags in every available space it canexecution is a challenge logistically, technically, and behaviorally. Enter design. Many people are sort of surprised that trash requires an aesthetic, Goodman tells me. The bins are made by the Spanish company called Conteneurwhich has a $7 million, 10-year contract with the city to provide up to 1,500 binsand are slightly modified versions of their Oval 3000 model, which are found in cities like Barcelona. While the physical design is mostly off the shelf, the experience around them is New York specific. First off, the bins are gray with gray lids to match the color of the smaller rolling bins required for buildings with nine or fewer units. They are simply labeled Trash and feature icons of a metal garbage bin and bundled plastic bag, along with a DSNY logo on the corner. Very straightforward iconography, just simple-to-understand terms, Goodman explains. Some Empire Bins are also installed at schools in the neighborhood for recycling and compost in addition to trash, and their lids are color coded to indicate what goes inside: blue for glass, green for paper, brown for compostjust like residential bins. Second, the Empire Bins are assigned to specific addresses instead of being for whole neighborhood communal use like they are in most European cities. While the city has long known the weight of its waste, it didnt know the volume until it conducted a 70,000 block study as part of the containerization effort. Through this, DSNY concluded that a one-size-fits-all container would not work for neighborhoods because of the varying density. A block might contain any mixture of large and small residential buildings; instead, it took a building-by-building approach. DSNY mandated that buildings over 31 units receive an Empire Bin and gave buildings between 10 and 30 units the option to use the Empire Bin or individual rolling bins. Right now, Empire Bins occupy about 4% of the neighborhoods curbside parking. We don’t want there to be too little or too much bin space, Goodman says. Too much bin space is not an efficient use of our curb line, and obviously not enough is bad for sort of self-evident reasons. And finally, each Empire Bin is outfitted with a battery-powered lock; the person or people responsible for trash at the building receive key cards to access them. Theres no limit to how many key cars a building can receive. Conteneur advised the city to keep the cards plain, but Goodman felt like they needed a special graphic treatment so Empire Bin and a photograph of the receptacles is printed on each green-and-white card. They said, You don’t want it to become a collectors item. And I said, No, I want it to become a collectors item, he explains. The key card has to be cool. People have to want this. They have to be excited to get it. In order to keep the bins in the exact same spot, DSNY installed tiny pyramids onto the pavement that hold them in place and prevent them from getting pushed around. Each bin weighs about 300 pounds empty, so a lot of strength is required to dislodge them. Additionally, DSNY, in collaboration with the Department of Transportation, installed flex posts around the bins to ensure theres enough clearance for the collection trucks mechanical arm to grab them. Residents take their trash out like normal. But supers bag up the trash and toss them into the bins instead of leaving it on the curb for pick-up. They can access the bin 24/7 and dont have to wait until a specific time to use them. This way, theres no need for the intermediate steps of bagging trash and holding it in a trash room until pick-up then bringing everything to the curb. It has eliminated the building manager frustration around having to be here till 8 p.m. to put the trash out, Goodman says. [Photo: NYC Mayor’s Office] An Automated Truck for the Heavy Lifting Around 5:45 a.m., a new DSNY truck rumbled up the hill. To service the Empire Bins, DSNY had to build 16 custom side-loading collection trucks. The models in use in Europe dont meet the emissions requirements in New York, so DSNY Frankensteined their bodies onto the same model of chassis that the fleet currently uses. One of the two workers hopped out of the cab then flashed his universal access key card over the lock to peek inside to see if the bins had anything inside them. The first was empty, but the second had a few bags in it. He returned to the truck and hit a button on its side, which awoke a large, automated mechanical arm. It lowered itself around the bin, pinched its sides, then hoisted it 20 feet in the air before flipping it upside down to empty its contents. Then, the arm precisely lowers the bin back to its exact resting place. The entire process is automated, but there are cameras inside the cab that lets the driver keep an extra set of eyes on the mechanical arm for safety and a joystick just in case they need to operate it manually. Instead of heaving heavy, dirty bags into the back of a truck, workers essentially just press a button. Its a shift that helps reduce the tremendous physical strain on the job and risk of illness, especially leptospirosis, a bacterial infection that is spread through rodent urine. Its curable, but often goes undiagnosed, which can lead to complications. There are two kinds of New Yorkers who get leptospirosis: sanitation workers and dogs, Goodman says. We have maybe six cases a year from handling trash bags that a rat has urinated on, and now they’re not touching the bags. The entire acrobatic sequence took less than 30 seconds. It reminded me of the Snow Plow Ballet, a 2003 performance by Mierle Laderman Ukeles, DSNYs first resident artist, of snow plows choreographed into a dance. The arms graceful rise was not unlike a plié and relevé. Then the truck was onto the next set of binssometimes the bins are sited individually and sometimes in sequencefor an encore performance, and soon drove onto the next block. [Photo: NYC Mayor’s Office] From Harlem to the Five Boroughs? If the Harlem pilot is successful, the Empire Bins may come to the rest of the city, though DSNY has to complete its study before the city decides. For now Goodman and his team will be gathering feedback and studying how the bins work in situ from residents as well as sanitation workers. Some early takeaways have emerged: DSNY noticed that drivers sometimes park over the flex posts, so it is considering installing bollards between them and the bins to ensure theres enough clearance for the mechanical arm. Meanwhile, some supers who manage multiple buildings have asked for a key card that can work on multiple bins; DSNY has worked with property owners to get authorization. We want this to be really simple, Goodman says. Then there is the challenge of using the bins as the city intends. I spotted a paper bag of recycling and a couple grocery store-size bags of trash in front of a row of three Empire Bins. DSNY has added a No Dumping sticker to prevent this. My hope is that long-term that’s not necessary and that people come to understand what the bin is, Goodman says. As Goodman and I wrapped up our tour, we spotted DSNYs Manhattan Borough Chief Daton Lewis trailing the pick-up, too. He was excited about the new method of trash collection. Its just amazing, Chief Lewis told us, mentioning that a colleague who has served in DSNY for 20 years told him that the Empire Bins came 19 years too late. Its like a kid in the candy store for me. So far, DSNYs containerization efforts seem to be working. In the first half of 2025, citywide rat sightings decreased 18.4% compared to the same time period in 2024. Still, the vocal pro-car faction has chimed in; the New York Post accused the bins of abducting parking spaces. Meanwhile, some advocates are calling for more on-street bins arguing that the fleets of rolling bins for smaller buildings are crowding sidewalk space. While Mayor Adams has said that the tradeoff of less parking is a small price to pay for cleaner streets, it remains to be seen if the future political climate will be as open to the shift. A couple days after my trek to Harlem, I attended a screening of The Maintenance Artist, a documentary about Mierle Laderman Ukeles, that premiered at the Tribeca Film Festival this June. A feminist artist who explored the cultural associations with maintenance and care, Ukeles, wanted more citizens to value the systems and labor that keep a city running. I believe that the design of garbage-recycling facilities, landfills, water treatment plants, rivers should become the great public design of our age, she said in an interview that appeared in the film. They will be utterly ambitious, our civic cathedrals. Since then, the city has commissioned a handful of civic cathedrals to sanitation: Theres the salt shed on Spring Street that resembles a concrete crystal and the rotund silver digester eggs that define the Greenpoint skyline and are occasionally open to the public on architecture tours that always sell out. The newest entries to the canon, Id argue, are the Empire Bins. Part of keless ambition was to help people realize that keeping our cities clean is a shared responsibility. After the revolution, whos going to pick up the garbage on Monday morning? she wrote in her 1969 manifesto. The answer should be all of us, in some capacity. Today, that means being receptive to the redistribution of curb space for waste collection. I don’t think we were asked if we wanted to live with 24 million pounds of trash in the street, Goodman says. And the idea that we can change it is, I think, compelling.
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E-Commerce
In 2020, the world marched. People poured into streets to protest racial injustice. Social media feeds turned into anti-racism reading lists. Corporations issued statements and committed billions of dollars to racial equity. It felt like a turning point. Five years later, much of that momentum has faded. Support for the Black Lives Matter movement among Americans has dropped. Companies have gone quiet. Many former allies have disengaged. So what happened? And more importantly, how do we reignite lasting commitment to racial justice? New research from Stanford and Yale offers a clueand a path forward. It comes down to your mindset. The Power of an “Impact Mindset” Researchers surveyed thousands of Americans across racial groups and asked: When thinking about the racial justice movement, what kind of inner dialogue do you have? They identified four different types of strategic mindsets that people can adopt: Impact mindset: How will my actions affect others? Dependency mindset: Do others have to act for my effort to matter? Egocentric mindset: Whats in it for me? Altercentric mindset: What are others doing and how can I follow? The key finding? People who focused on how their actions impact others those with an impact mindsetwere much more likely to take meaningful action in support of racial justice, such as protesting, donating, or organizing. This was true across all racial groups. And critically, those with an impact mindset in 2020 were also more likely to stay engaged eight months later, even after racial justice faded from public attention. In other words, what keeps people committed isnt pressure, guilt, or even passion. Its the belief that they can make a difference in someone elses life. How This Played Out in 2020 Think back to the early months of the 2020 protests. Many white allies didnt just post hashtags. They marched alongside their neighbors, donated to bail funds, or lobbied their employers to examine hiring and retention practices. Why? Often, it was because they saw how the system impacted otherstheir friends, coworkers, and community membersand believed their actions could help shift outcomes for other people. This impact mindset also explains why the engagement wasnt always sustained. When the public spotlight dimmed and the tangible effects became harder to see, many people reverted to questions like Does this still matter? or Is anyone even paying attention? And without the sense that their personal efforts could meaningfully help others, many simply stopped showing up. How Leaders Can Reignite Allyship For companies, community organizers, and movement leaders looking to rebuild momentum, this research offers a clear strategy: frame calls to social action around impact. In the workplace: Rather than telling employees to attend diversity trainings because its required, show how inclusive practices improve outcomes for marginalized colleagueslike higher retention rates, safer team dynamics, or better pathways to leadership. In organizing efforts: Highlight individual stories as evidence of change. Tell people why their effort matters, like When you showed up to this school board meeting, this policy changed. Here’s what that meant for students.” In everyday life: Encourage people to ask, Whose life might be better because I took action today? That simple question helps shift the focus from self-doubt or fatigue to service and solidarity. Lets Make Allyship Sustainable The road to racial justice is long, and sometimes lonely. But the research is clear: people stay engaged when they believe their actions matter to the lives of other people. That belief must be cultivated intentionally. If we want to build lasting movementsin our companies, communities, or countrywe need to lead with impact. Remind people not just of the injustice, but of the difference they can make. The march toward equity doesnt end when the cameras stop rolling. It continues through the quiet, persistent actions of those who choose to care, and those who choose to take action because they know they can help someone else. Thats the mindset that makes change stick.
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E-Commerce
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