White House ‘super spreader’ event in Rose Garden reminds people that yes, you should still wear a mask outside

Epidemiologists continue to scrutinize a White House event after more than a dozen people, including President Donald Trump and White House press secretary Kayleigh McEnany, announced they tested positive for COVID-19.

Here is a list of other officials who have tested positive since President Donald Trump



Several of them attended a ceremony held outside in the Rose Garden on Sept. 26 where Trump announced his Supreme Court nominee, Amy Coney Barrett, in front of more than 180 people. 

The suspected “super spreader” event highlights the importance of wearing a mask and social distancing, even when outside. But some health officials, including leading infectious disease expert Dr. Anthony Fauci, say they don’t always wear a mask outside.

a group of people in a garden: President Donald Trump announces Judge Amy Coney Barrett as his nominee to the Supreme Court in the Rose Garden at the White House on Sept. 26.

© Alex Brandon, AP
President Donald Trump announces Judge Amy Coney Barrett as his nominee to the Supreme Court in the Rose Garden at the White House on Sept. 26.

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So, when is it appropriate to take it off?

In an interview with Rhode Island Gov. Gina Raimondo, Fauci said you can take your mask off outdoors if you’re around people you live with and there is no one else in the immediate vicinity.

The National Institute of Allergy and Infectious Disease director said on his daily 4-mile walk, he typically wears his mask around his neck and puts it on over his mouth when he sees someone coming.

Dr. Lewis Nelson, professor and chair of emergency medicine at Rutgers New Jersey Medical School, says mask wearing outside depends on one’s ability to social distance. If you’re more than 6 feet away from someone outside, then it’s generally safer to take your mask off.

Outdoors is safer than indoors, but it’s never totally safe, he said. Especially when the U.S. Centers for Disease Control and Prevention in its COVID-19 Pandemic Planning Scenarios estimates about 40% of people who have COVID-19 are asymptomatic.

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“Asymptomatic spread is very real, which is why you can’t feel that comfortable in an environment where people aren’t sick,’” Nelson said.

Dr. Sunil Sood, infectious diseases specialist at Northwell Health’s South Shore University Hospital in Bay Shore, New York, says the rules of “mask-on, mask off” also apply when dining outside.

“It is tiresome… (but) you just have to do that,” he said. “The only time you should take your mask off is when you’re actually biting and chewing.”

This means keeping the mask on while chatting with other diners, waiting for food and speaking with your waiter. The only exception would be if you’re dining alone at 6 feet away from other people or if you’re dining with members of your household.

Health experts stress testing negative

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The Garden’s HELLO, DOLLY! Reminds Us There’s a World Out There

The Winter Garden production is Central Florida’s first following months of COVID-related closures.

BWW Review: Put on Your Sunday Masks: The Garden's HELLO, DOLLY! Reminds Us There's a World Out There

“I like it,” my friend told me during intermission at last night’s production of HELLO, DOLLY! at the Garden Theatre, “but I’m not entirely sure I follow it.”

“Well, she’s a matchmaker,” I told him, bearing in mind that he’s brand-new to Dolly Levi and the musical that’s made her a household name since 1963, “but also a….”

“Machiavelli,” chimed another.

…That’s fair.

DOLLY! is all about one woman’s quest to hoodwink a rich man into marrying her while also matchmaking all of early-1900s New York. But it’s about bigger things, too: moving on, moving up, and making the most of life.

Fate couldn’t have found a more fitting show for the Garden Theatre’s 2020 return than one with a whole song about getting out of the house and hitting the town. Indeed, with lines like “gonna get some life back into my life” and “the rest of us are in great danger of contamination,” DOLLY wouldn’t let us forget the pandemic even if its cast weren’t wearing masks.

…But they are, by the way. That’s probably why my friend had a hard time following the plot. The Garden does all it can to make the masks manageable, creatively integrating them as wardrobe. But perhaps unavoidably, some lines get muffled.

I’d love to see Shonda L. Thurman as a socially undistanced Dolly someday, but even under the circumstances, she earns the exclamation point in her eponymous HELLO! She’s a confident Dolly. A funny Dolly. A Dolly whose jollity is tempered by a tinge of widowed world-weariness, which the role calls for but doesn’t always have. I still can’t get over her one-of-a-kind take on the Miss Molloy’s hat shop scene, during which my own mask could not muffle my literal LOLs.

Later, when Thurman very briefly removes her mask to let the opening lines of “Before the Parade Passes By” make full impact, I realized both how much masks do detract from the overall experience and also just how good she really is.

BWW Review: Put on Your Sunday Masks: The Garden's HELLO, DOLLY! Reminds Us There's a World Out There

Speaking of Miss Molloy and things I still can’t get over: Lillie Eliza Thomas and her performance of “Ribbons Down My Back.” I’ve always liked the tune, but this is the first time in my DOLLY-lovin’ life that it’s felt like that song matters. Thomas, under Joseph Walsh’s thoughtful direction, performs it with a poignancy and sense of dramatic urgency that made me reconsider that song’s role in the show.

Russell Stephens, who returns to the Garden after wowing me in Violet last season, tackles many of the most iconic songs as Cornelius Hackl. You love to hear him sing. He shows off strong comedic chops too, and a gameness for jumping across the stage with gusto. His Hackl and Anthony Morehead’s Barnaby make for quite the likeable pair. Broadway veteran Brian Minyard, meanwhile, is equal parts gentlemanly and gruff as Horace Vandergelder, the object (er- target) of Dolly’s affection.

Not everything works.

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PIG design’s public washroom interior in china reminds of space exploration scenes

located in seiranri – a commercial building complex in binjiang district, hangzhou, PIG design has completed the renovation of a 1,450 m2 area including public walkways and washrooms. mainly targeted at urban young generations, the project combines functionality and novel ideas, generating a space-like interior with apparent influence from concepts of gravity, planets, and black holes. 

seiranri public area 1

all images by wang fei, shi zheng, qi shuoqian



PIG design has extended the pre-existing 80 m2 restroom to create a large communal area. just like a black hole, the original washroom has engulfed and absorbed its surroundings, eventually forming a broad public space where people can stop and rest. this space contains elevator halls, escalator wells, passages for logistics personnel, as well as actual restrooms. the passageways for customers and those for tenants are separated, and all circulations are optimized. 

seiranri public area 2



the project consists of three separate floors, and each of them features a different dominant hue. white, green, and purple are respectively the main colors of each level, thereby creating an overall scene that echoes the colorful view produced by friction between planets around a black hole. tiles, a common material that is cost-saving and easy for cleaning and maintenance, are applied to large areas of the space, to give the visual impression of fragments

seiranri public area 3



conventionally, a washrooms are private and not usually highlighted in spatial design. however, here, such a space is accentuated by a strong color on each floor, to produce dramatic visual and sensory experiences. public passages become extensions of the restroom areas, inviting people to go deeper into the interior. within these hallways, a series of items that generally exist in restrooms has been placed, such as washing sinks, showers, toilet paper, toilets, and mirrors. although not considered as elegant in an aesthetic sense, these objects perfectly function as conceptual and symbolic visual elements, evoking familiar memories of daily life. 

seiranri public area 4



overall, the design seems to generate a story-telling spatial experience, emerging from familiar yet strange scenes. all elements within the interior are magnified, interlaced, and sorted, like planets colliding with each other due to the gravity of a black hole. the holistic use of a single color on each floor provides a unique background while people take the role of the protagonists. through a detailed visual language complete with fragmented shapes and sculptural volumes, the space encourages visitors to look past the virtual boundary, pay attention to daily life elements that are often ignored, and create their own story. 

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