A Quote by Bruce Nordstrom

I think we were instrumental in saving downtown Seattle. To me, that's the biggest thing we did. — © Bruce Nordstrom
I think we were instrumental in saving downtown Seattle. To me, that's the biggest thing we did.
I absolutely think the Seattle grunge sound was instrumental to my music education.
We were from downtown, so we were rapping in Danceteria, in these white downtown clubs, really. Nobody downtown was rapping. Nobody we knew was rapping. So we were like, 'We should do it.' We weren't making fun of it; we loved it, and we wanted to be part of it.
Seattle isn't known for a particular production sound, so that leaves a lot of great producers in Seattle doing kind of their own thing. And I think, for me, I was probably enough removed from hip-hop that my style was even a little bit weirder than that.
The biggest thing for me coming into the league was my last year in college I didn't think about the NFL one time. I just played ball and went out there and did what I did and let everything take care of itself. It worked out great for me.
I did 'Malice,' 'Sommersby,' and 'Sleepless in Seattle,' and they're as disparate characters as I've ever played. But somehow, there was that thing - they were all second male leads, so they all didn't get the girl in some weird way.
'The Last Seduction,' 'Sleepless in Seattle' and 'While You Were Sleeping' did a lot to get me noticed for bigger roles.
Everyone is aware that tremendous numbers of people concentrate in city downtowns and that, if they did not, there would be no downtown to amount to anything--certainly not one with much downtown diversity.
Here's the thing that I think really pushed me, was my versatility. Because when I came in to the movie business, all the stunt men were specialists. If you did horse work, that's all you did. If you did cars and motorcycles, you did that. But when I came in, I taught myself how to do everything.
Segregation was ugly but we made something good out of something ugly. Since we were not welcome in other places run by White people, we were forced by circumstances to let our dollars circulate in our own communities. When you were young and I was young, there was a plethora of Black businesses. But when White folks said, "yes, come and spend your money with us," we ran downtown when we could only pass through downtown. Now downtown has our money.
Logistically, moving from Miami and New Orleans all the way to Seattle isn't the easiest thing. Really, for my dog, she was kind of the biggest hurdle to get here.
I love downtown Seattle. It's a city that has all of the outdoor activities and is still a very cosmopolitan city.
I miss Seattle a lot. It was my first city that I lived in on my own. It was a great city to play for. It was unfortunate for the fans what happened, but it’s time to move on. I’m sure they’ve moved on. But in the back of my mind, I still have a thing for Seattle and always am going to remember what they’ve done for me.
I think the biggest thing was that when I was in college, I really concentrated on personnel. That was my strength, and I was, in essence, my own recruiting coordinator. And when I went to the pros, I did the same thing.
During the winter of 2013, we were running 'Comet' up in midtown - as opposed to downtown - and across the street in the Standard, and that was, like, our third time going at it, from Ars Nova to downtown to near Broadway. We weren't on Broadway. We were near Broadway, as we said.
In January of 1995, my family and I moved to Seattle. Pearl Jam did the first of their live radio broadcasts, Monkey Wrench Radio, along with many other Seattle musicians.
Yeah. When you want what's real and you try to find that in high school, you might as well be looking for a mossy rock beside a babbling brook on the corner of Sixth and Pine in downtown Seattle.
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