It's jarring to see these late night hosts, stripped of their tech armor and studio wizardry trying to tell jokes for a camera in their living rooms, basements and closets.
Just between us: do you really need your $1,200 share of the federal largess?
Like most of us, I have been working remotely for the past few weeks, but since I earn my living as a writer, I work remotely anyway. However, under quarantine, it feels different. Like, more remote. Like house arrest.
"The arts” must cease lobbying just for themselves but for their just share of support alongside other “non-profit” instruments of a just society; essentials like universal public heath, public education, basic income.
Seattle has a knack for growing families of enormous wealth. Now's a good time to get some of these internationally-focused foundations a bit more intentional about the locals.
It's not too much of a stretch to think that the movie theatre business - when it returns - will be considerably scaled down and that distribution will have been rethought.
Is it good architecture? Yes, very. The UW is joining the larger corporate and scientific world, and the Life Sciences Building is what it does. It makes knowledge workers happy and productive.
It's hard to get more local than One Reel, its artistic and creative pedigree is unsurpassed here, and even the company slogan "Our stage is Seattle" is encouraging.
What's new is the way the museum now opens up to views of the park. The addition stands behind and to one side, taking advantage of a dip in the ground level on the east side.
The original, gen-yew-ine original was not at all operatic: that was part of its charm. And it probably couldn't have come into being in any other American city of the time. Informal smash-and-grab performances were a distinctive aspect of the Seattle theater scene from the 1970s onward, starting with the Empty Space theater's summer shows in Volunteer Park and Norman Langill's flatbed truck borne One Reel Vaudeville Show.