Chicago Style Long Quotes

COINTELPRO strategy designed to cripple radical organizations by misusing the courts. First, arrests of targeted activists on serious charges carrying potentially long sentences. It was of little importance to the government whether or not they had a legitimate case strong enough to secure a conviction. The point was to silence and immobilize leadership while forcing groups to redirect energy and resources into raising funds, organizing legal defenses, and publicizing these cases. It was a government subversion of the American justice system resulting in drawn-out Soviet-style political show trials that became commonplace in the America of the 1970s: the Chicago Seven, the Panther Twenty-One, etc., etc. Although the overwhelming majority of these cases did not result in convictions,3 government documents show that they were considered great tactical successes. They kept the movements off the streets and in the courts.

I didn’t answer right away; I was too busy savoring the moment. The delicious night air, the music of mama cows in a distant pasture, the trillions of stars overhead, the feeling of his fingers entwined in mine. The night couldn’t have gone any more perfectly. I’m not sure anything, even going home with him, could possibly make it any better. I started to open my mouth, but Marlboro Man beat me to it. Standing up and lifting me off the tailgate of his pickup, he carried me, Rhett Butler-style, toward the passenger door. Setting me down and opening my door, he said, “On second thought…I think I’d better take you home.” I smiled, convinced he must have read my mind. Whether he had or not, the fact was that instantly and noticeably the whole vibe between us had changed. Before I’d dumped my Chicago apartment and told him my plans to stay, the passion between us had sometimes felt urgent, rushed, almost as if some imaginary force was compelling us to get it all out right here, right now, because before too long we wouldn’t have the chance. There’d been a quiet desperation in our romance up until that point, feelings of excitement and lust mixed with an uncomfortable hint of doom and dread. But now that my move had all but been eliminated from the equation, the doom and dread had been replaced with a beautiful sense of comfort. In the blink of an eye, Marlboro Man and I, while madly and insanely in love, were no longer in any hurry. “Yeah,” I said, nodding my head. “I agree.” Man, did I ever have a way with words.

RIVER QUAY In Kansas City, if one were to bring up the topic of River Quay (pronounced “River Key”), that conversation would no doubt evolve into a conversation about River Market. Today, River Market is a hip-and-trendy neighborhood in Kansas City, Missouri. Located just south of the Missouri River. Adorning River Market’s quaint neighborhood feel, you’ll find chic eateries. Coupled to an urban lifestyle. Complete with a streetcar. A stone’s throw to the west of Christopher S. Bond Bridge. That’s today. Today’s River Market. Yesterday’s River Quay. In 1971, Marion Trozzolo - then, a Rockhurst University professor - began renovating historic buildings alongside the “Big Muddy” in a section of Kansas City that we now know to be River Market. It was Professor Trozzolo who came up with the River Quay nickname. Trozzolo’s idea for River Quay? For River Quay to undergo a thorough, artsy-remake. Into a Kansas City-styled French Quarter. A neighborhood comparable to Chicago’s Old Town. To San Francisco’s Ghirardelli Square. Trozzolo envisioned a family-friendly environ for River Quay. Unfortunately, the latter half of the ‘70’s was a rough time for this neighborhood next to the muddy Missouri. The word Quay? It's a word of French origin. The translation for Quay? Loading platform. Or wharf. Did River Quay ever become a Kansas City French Quarter? Did River Quay ever become a Kansas City Old Town? Did River Quay ever become a Kansas City Ghirardelli Square? Hardly. By the late ‘70’s, revitalization efforts in River Quay had stalled. Leaving River Quay saddled with boarded up buildings. Deserted through-streets. A neighborhood, with no vibrancy. Streets, with no traffic. Sidewalks, with no passers-by. By the late ‘70’s, developers were walking away from unfinished River Quay projects. Whereas River Quay had once - not long before - been primed for a grandiose new identity. One which bespoke of a rebirth for this neighborhood. A transition. From blight. To that of an entertainment district. Yet by the late ‘70’s, River Quay was not on its way to becoming Kansas City’s French Quarter. By the late ‘70’s, you’d still find an X-rated theatre in River Quay. With mob ties. Homeless, sleeping next to decrepit River Quay buildings. Empty River Quay buildings which had once been fancied as prime renovation opportunities. Projects, sadly cast aside and forgotten. In River Quay.  In the late 1970’s? Well, at that time, River Quay was as an unfinished idea. Full of unrealized potential. Full of unrealized promise. Disappointing, no doubt. Yet today, on those same grounds, alongside the Missouri River, we have Kansas City’s stunning River Market. A great idea. Then a detour. Yet, a happy ending - and a nice story, with a unique history- in Kansas City.

Chicago deep dish takes forever to cook and costs as much as four New York–style pizzas. Chicago deep dish is a commitment. You arrive at Uno’s, Giordano’s, Gino’s East, or Lou Malnati’s and place your order, and then you wait and wait for what seems like a lifetime. At times it feels like they are purposely tormenting you to make the deep-dish pizza seem all the more appealing. I actually make a point of not showing up hungry when I go out for a Chicago deep-dish pizza. It would be torture. To kill time, you eat a salad with provolone, salami, and pepperoncini in it and drink a pitcher of beer like you are preparing yourself for some kind of long, difficult journey of waiting. Finally your pizza arrives in a pan carried by your server with some kind of clamp contraption that I’m pretty sure is the same one they use to shape molten glass. After the first slice you are full, and you should be. You’ve eaten roughly three pounds of food that is baked on top of a crispy, cake-like crust. There is never a reason to eat more than one slice of deep dish, but you forge on. The wait has built an enthusiasm and excitement in you that can’t be quelled by just one slice. Most humans stop after two slices, but I like to think of myself as a superhuman.

The film version of Chicago is a milestone in the still-being-written history of film musicals. It resurrected the genre, winning the Oscar for Best Picture, but its long-term impact remains unclear. Rob Marshall, who achieved such success as the co-director of the 1998 stage revival of Cabaret, began his career as a choreographer, and hence was well suited to direct as well as choreograph the dance-focused Chicago film. The screen version is indeed filled with dancing (in a style reminiscent of original choreographer Bob Fosse, with plenty of modern touches) and retains much of the music and the book of the stage version. But Marshall made several bold moves. First, he cast three movie stars – Catherine Zeta-Jones (former vaudeville star turned murderess Velma Kelly), Renée Zellweger (fame-hungry Roxie Hart), and Richard Gere (celebrity lawyer Billy Flynn) – rather than Broadway veterans. Of these, only Zeta-Jones had training as a singer and dancer. Zellweger’s character did not need to be an expert singer or dancer, she simply needed to want to be, and Zellweger’s own Hollywood persona of vulnerability and stardom blended in many critics’ minds with that of Roxie.8 Since the show is about celebrity, casting three Hollywood icons seemed appropriate, even if the show’s cynical tone and violent plotlines do not shed the best light on how stars achieve fame. Marshall’s boldest move, though, was in his conception of the film itself. Virtually every song in the film – with the exception of Amos’s ‘Mr Cellophane’ and a few on-stage numbers like Velma’s ‘All That Jazz’ – takes place inside Roxie’s mind. The heroine escapes from her grim reality by envisioning entire production numbers in her head. Some film critics and theatre scholars found this to be a cheap trick, a cop-out by a director afraid to let his characters burst into song during the course of their normal lives, but other critics – and movie-goers – embraced this technique as one that made the musical palatable for modern audiences not accustomed to musicals. Marshall also chose a rapid-cut editing style, filled with close-ups that never allow the viewer to see a group of dancers from a distance, nor often even an entire dancer’s body. Arms curve, legs extend, but only a few numbers such as ‘Razzle Dazzle’ and ‘Cell Block Tango’ are treated like fully staged group numbers that one can take in as a whole.

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