Seattle City Attorney Annual Report 2010
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Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Tourist Guide to Seattle – Fall, 2019
Tourist Guide to Seattle – Fall, 2019 Planned group outings for Saturday: Sky View Observatory with (Dutch treat) Lunch option: Walk three blocks up Cherry Street (uphill) to the Columbia Center, the tallest skyscraper in Seattle (and Washington State) at 933 feet. You’ll take an elevator to the 73rd floor for a panoramic view of the Emerald City. $XX, paid in advance on your registration form. You have the option of a casual lunch there. Sign up only if you do not have a meeting scheduled from 12 noon to 1:30 Saturday. Beneath the Streets Tour: Take a 75-minute historical tour of Seattle’s 1890s architecture and the underground passageways that were left behind as Seattle built on top of the downtown that burned in the Great Fire of 1889. $15, paid in advance on your registration form. Tour involves 6 flights of stairs over one hour. Sign up only if you have no meeting Saturday from 2:15-3:30 pm. A second tour MAY be available for those in town Sunday, 2:00-3:15, paid in advance (refunds if it doesn’t go). On your own ----- Near the Courtyard Marriott: OUTINGS FOR 45 MINUTES-1 HOUR: Smith Tower – view and history: Walk out of the Hotel and turn left. At the end of the block is the Smith Tower, built in 1914. Take the original Otis elevator (hand operated until just a few years ago) to the 35th floor for a view of the city and some Seattle history. Food is available there, too. $20 adults, $16 Seniors. -
Seattle City Attorney Annual Report 2016
CIVIL DIVISION continued Seattle City Attorney Annual Report 2016 i TABLE OF CONTENTS 2 Statement from the City Attorney 7 Precinct Liaison Division 12 Civil Division 24 Criminal Division 41 Administration Division STATEMENT FROM THE CITY ATTORNEY Comedian John Oliver labeled 2016 the “worst f--- Addressing Homelessness ing year” seven weeks before it ended, with Donald Construction cranes continued to rise above the Trump’s electoral victory. The election stumped Emerald City throughout 2016, and so did the most pollsters and devastated fellow progres- concerns of Seattleites regarding rapid change sives backing Hillary Clinton, who had hoped for a amid worsening economic inequality—evidenced continuation of President Barack Obama’s enlight- by a growing homelessness crisis, fueled in part ened policies. My worst fears about a Trump by a desperate opioid epidemic. Since I first took Administration continue unabated in 2017—but office in January 2010, over 100,000 more people for crucial judicial interventions that reaffirm my now call Seattle home, despite housing costs that faith in the Rule of Law. An election Clinton “won” have soared past even pre-Great Recession levels. by over three million votes, however, demonstrates I am proud of our Civil Division’s legal support how Seattle remains vulnerable to a rural/urban for Mayor Ed Murray’s Housing Affordability & divide in both national and state politics. As I write Livability Agenda, which complements my funda- this introduction during the final year of my second mental policy objective: To address homelessness, term, it’s important to avoid endless hand-wringing the opioid epidemic and mental health issues with and recall 2016’s achievements closer to home. -
Drone Music from Wikipedia, the Free Encyclopedia
Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice, -
Alaskan Way Viaduct Replacement Final
C-025-001 FHWA, WSDOT, and the City of Seattle appreciate receiving your comments. The project has evolved since comments were submitted in 2004, please refer to this Final EIS for information on the current alternatives. The preferred Bored Tunnel Alternative would not have a tunnel operations building near Pike Place Market. The Cut-and-Cover Tunnel Alternative does include a tunnel operations building that would be constructed on the block bounded by Pine Street, SR 99, and the Alaskan Way surface street. C-025-002 The Steinbrueck Park Lid is part of the Cut-and-Cover Tunnel Alternative in this Final EIS. The preferred Bored Tunnel Alternative and the Cut- and-Cover Tunnel Alternative would have beneficial effects on the views from the Market and Victor Steinbrueck Park, as the aerial viaduct structure that currently intervenes in the views to the west, would no longer be part of the landscape. SR 99: Alaskan Way Viaduct Replacement Project Final EIS - Appendix T 2010 Comments and Responses July 2011 C-025-003 There is no monitoring planned specifically for areaways in Pioneer Square or Pike Place Market since the areaways are some distance away from the bored tunnel. However, when individual building monitoring plans are developed some areaways may be included and monitored as needed. A number of Pike Place Market buildings on First Avenue and Pike Place would be routinely monitored for potential settlement. At least 5 of these buildings have areaways, which are believed to be in good condition. C-025-004 WSDOT briefed the Commission on the project in April 2011. -
SCULPTURE Title: North Totem Pole, 1984 Artist
SCULPTURE Title: North Totem Pole, 1984 Artist: James Bender Location: Victor Steinbrueck Park, corner of Western & Virginia Description: Western red cedar carved in Haida-inspired style. M. Oliver initial design. J. Bender final design and carver. Metaphorical figures of the Raven, Human, Little Human, Orca, Little Raven and Bear holding a hawk. Commissioned 1983 by architect Victor Steinbrueck. www.nwart- jpbender.com. Title: Farmer’s Pole, 1984 Artist: James Bender Location: Victor Steinbrueck Park, corner of Western & Virginia Description: Western red cedar tribute pole carved to celebrate the Market farmers. Man and a woman wear “Honored Farmer – 1984” badges . Commissioned 1983 by architect Victor Steinbrueck. Concept and design was a collaboration between Bender and Steinbrueck. www.nwart- jpbender.com. Title: Sasquatch, circa 1970’s Artist: Richard W. Beyer (1925-2012) Location: North Wall, Economy Building Atrium Description: Seven foot Sasquatch wood carving. Mythical forest creature brought well-being to local tribes. Reflects dependence on generosity and terrifying power of thick forests. Artist sold smaller versions from a market stall he had during his early career. Between 1968 and 2006, he created over 90 different sculptures for public spaces in cities throughout the country that reflect local values and lore. www.richbeyersculpture.com Title: Rachel the Piggy Bank, 1986 Artist: Georgia Gerber Location: Corner of Pike Street and Pike Place Description: Bronze mascot of Pike Place Market Foundation. Model was an old sow living near the artist’s Whidbey Island home. Each year she collects thousands of coins and bills in multiple currencies which supports the Market’s food bank, child care center, medical clinic and senior center. -
Victor Steinbrueck Papers, 1931-1986
Victor Steinbrueck papers, 1931-1986 Overview of the Collection Creator Steinbrueck, Victor Title Victor Steinbrueck papers Dates 1931-1986 (inclusive) 1931 1986 Quantity 20.32 cubic feet (23 boxes and 1 package) Collection Number Summary Papers of a professor of architecture, University of Washington. Repository University of Washington Libraries, Special Collections. Special Collections University of Washington Libraries Box 352900 Seattle, WA 98195-2900 Telephone: 206-543-1929 Fax: 206-543-1931 [email protected] Access Restrictions Open to all users, but access to portions of the papers restricted. Contact Special Collection for more information Languages English Sponsor Funding for encoding this finding aid was partially provided through a grant awarded by the National Endowment for the Humanities. Biographical Note Victor Steinbrueck was born in 1911 in Mandan, North Dakota and moved with his family to Washington in 1914. Steinbrueck attended the University of Washington, earning a Bachelor of Architecture degree in 1935. He joined the faculty at the University of Washington in 1946 and taught until his retirement in 1976. He was the author of Seattle Cityscape (1962), Seattle Cityscape II (1973) and a collections of his drawings, Market Sketchbook (1968). Victor Steinbrueck was Seattle's best known advocate of historic preservation. He led the battle against the city's redevelopment plans for the Pike Place Market in the 1960s. In 1959, the City of Seattle, together with the Central Association of Seattle, formulated plans to obtain a Housing and Urban Development (HUD) urban renewal grant to tear down the Market and everything else between First and Western, from Union to Lenora, in order to build a high rise residential, commercial and hotel complex. -
Open House 2 VICTOR STEINBRUECK PARK ORIGINAL DESIGN the Park Is an Extension of the Market and Lively Public Space with a Tranquil View of the Sound and Mountains
OVERVIEW We are improving Victor Steinbrueck Park to preserve its legacy and signifi cance. Victor Steinbrueck Park was created in 1981 by architect and activist Victor Steinbrueck and landscape architect Rich Haag. After helping to save Pike Place Market from demolition, the two designed the park (originally named Market Park) as a place to enjoy the view and to act as an extension of Market’s social life, providing a place to gather outside. The park designers felt strongly that the park provide for all people, including disadvantaged members of our community. Victor Steinbrueck Park is an incredibly well-used and well-loved space, and over the years it has seen the effects of overuse and general wear and tear. Various elements have also been added or removed from the park over time. This project will take a holistic approach to improving the park for all. GOALS SCOPE PROCESS In 2008, City Council passed a Levy that allocated $1.6M for The scope of this project includes public outreach, design, and The design team meets regularly with numerous local “Improvements to Public Safety”. These include but are not limited construc on related to improvements outlined above. In addi on, stakeholders and park users. The design team also meets to: the park was constructed on top of a parking garage, and it has regularly with Sea le Parks & Recrea on and the Pike Place • improving sight lines into the park recently been determined that the waterproofi ng membrane Market Historical Commission, which is responsible for making • renova ng sea ng between the park and garage is failing. -
System Operations Headquarters 1963 157 Roy Street Seattle City
Landmark Nomination System Operation Headquarters 157 Roy Street Prepared by The Queen Anne Historical Society And Michael J. Herschensohn, Ph.D., President With the assistance of board members Leanne Olson And Nicole Demers-Changelo Page 1 Table of Contents 1. Introduction 3 1.1. Background 3 1.2. Methodology 4 2. Property Data 4 3. Architectural Description 5 3.1. Location and Neighborhood Character 5 3.2. Site 6 3.3. Building Structure & Exterior Features 6 3.4. Plan & Interior Features 7 3.5. Documented Building Alterations 7 4. Significance 8 4.1. Historical Site Context: Queen Anne 8 4.1.1. Introduction 8 4.1.2. Electrical Power and Queen Anne 9 4.1.3. The Rivals: Puget Power and Light and Seattle City Light 9 4.1.4. The Neighborhood between World War I & the 1962 Seattle World’s Fair 10 4.1.5. The 1951 Buyout 11 4.1.6. The 1962 Seattle World’s Fair 11 4.1.7. After the Fair 13 4.2. Historical Architectural Context: The Modern Style 15 4.3. Building Owner: Seattle City Light 16 4.4. Building Architect: Harmon, Pray & Detrich 16 4.5. The Contractor 17 5. Bibliography 18 6. Appendix I: Figures 19 7. Appendix II: Drawings 68 Page 2 1. INTRODUCTION This landmark nomination provides information regarding the architectural design and historical significance of the System Operation Headquarters at 157 Roy Street. Even though an early undated draft of architectural drawings (Figure 49) calls the building the System Operations Headquarters, by September 1962 architectural drawings rename it the Power Control Center. -
Foldrite Template Master
SEATTLE CHAMBER MUSIC FESTIVAL Dancing Family Fun Center City Cinema Music And Concerts - MUSIC UNDER THE STARS DANCING ‘TIL DUSK BACK TO SCHOOL BBQ WITH SOUNDERS FC Join us for movies under the stars! Pre-movie DOWNTOWN SUMMER SOUNDS Freeway Park activities start at 6 p.m. and the movie begins Freeway Park ♦ Hing Hay Park Denny Park City Hall, Denny, Freeway, Occidental Live broadcast of the performance from at dusk. Occidental Park ♦ Westlake Park BBQ, games and a backpack and school Square, and Westlake parks Benaroya Hall on 98.1 Classical KING FM. Thirteen magical evenings of free, live music and supplies giveaway. Fri., July 12 Cascade Playground Free live music at a variety of locations Bring a picnic! BBQs are available for grilling. social dancing (no experience or partner required). Saturday, Aug. 31 ♦ 11 a.m.-2 p.m. Spider-Man: Into the throughout downtown Seattle. Fridays, July 5, 12, 19, 26 ♦ 7-10 p.m. Spider Verse All programs run 6-9:30 p.m. BLOCK PARTY All programs run 12-1 p.m. SUMMER STAGE ♦ 6 p.m. - one-hour beginner lesson Cascade Playground Westlake Park Tue., July 9 City Hall Park Cascade Playground Aquaman ♦ 7 p.m. - Let the dancing begin! Free raffle, BBQ, bouncy houses and music. Fri., July 12 Denny Park Concerts in the park with talented local Visit www.danceforjoy.biz for more information Tuesday, Aug. 6 ♦ 4-8 p.m. Fri., July 19 Cascade Playground Tue., July 16 City Hall Park musicians! Up Fri., July 19 Denny Park Thu., July 11 Zydeco Hing Hay Park CASCADE KIDS DAYS Thursdays, June 13-Aug. -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music: 1995-2001 Drum'n'bass, trip-hop, glitch music History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Post-post-rock (These are excerpts from my book "A History of Rock and Dance Music") The Louisville alumni 1995-97 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The Squirrel Bait and Rodan genealogies continued to dominate Kentucky's and Chicago's post-rock scene during the 1990s. Half of Rodan, i.e. Tara Jane O'Neil (now on vocals and guitar) and Kevin Coultas, formed Sonora Pine with keyboardist and guitarist Sean Meadows, violinist Samara Lubelski and pianist Rachel Grimes. Their debut album, Sonora Pine (1996), basically applied Rodan's aesthetics to the format of the folk lullaby. Another member of Rodan, guitarist Jeff Mueller, formed June Of 44 (11), a sort of supergroup comprising Sonora Pine's guitarist Sean Meadows, Codeine's drummer and keyboardist Doug Scharin, and bassist and trumpet player Fred Erskine. Engine Takes To The Water (1995) signaled the evolution of "slo-core" towards a coldly neurotic form, which achieved a hypnotic and catatonic tone, besides a classic austerity, on the mini-album Tropics And Meridians (1996). Sustained by abrasive and inconclusive guitar doodling, mutant rhythm and off-key counterpoint of violin and trumpet, Four Great Points (1998) metabolized dub, raga, jazz, pop in a theater of calculated gestures.