#Susi Snyder

[zponds]

(Credit goes to FB820onDeviantArt on Deviantart)

POV: You're in an OCs Willy Wonka Comment Roleplay

Willy Wonka: Welcome Everyone! I'm Willy Wonka, the greatest candy maker of all time and the owner of this amazing chocolate factory!

I was kind enough to make more Golden Tickets, which were scattered across the globe by a huge gust of wind! And thus you were invited to join many people for my Scrumdiddlyumptious Golden Ticket Tour!

Now, for the initial 25 tickets, the first two were discovered by a greedy boy and a picky girl, named Augustus Gloop and Madelyn Pottle respectively. Second was an overly curious girl named Yasmeen Smith-Snyder. Then there was Veruca Salt, Ugh! she's horribly spoiled! And don't forget about Haley Daley, that popular bully girl! Next there's Sebastian Rattle, the sneaky snake kid. And then we have Clarence Crump and his two lackeys, Bertie Upside and Terence Roper. And don't forget Violet Beauregarde, she chews gum all day long. Next up is the very depressed Barbara Forlorn. Then it's the bully and nerd duo, Calvin Chillington and Andrew Peckleman. Next we have the cheater girl, Akimi Russell. Here is Noah Mote, the emotionless one. Let's not miss, Gloria Grady, Robert Rockenbert, and Morag Mintizue. And the annoying brat, Susie Marsh. Then it's the hyper-exicted Trixie Hypnoski. After her are the friends duo, Tommy Troutbeck and Wilmina Rice. And then there's Mike Teavee, who does nothing but watch TV! And after him is the crazy strict nerd girl, Miranda Piker.

And last but not least, there's Charlie Bucket! Say how'd ya do, Charlie!

Charlie: Hello everyone! I'm so glad you could join me today!

Willy Wonka: The other winners have gone on ahead, but we'll catch them up! I'm certain they've been behaving like perfect little ladies and gent- *an oompa-loompa calls him on his phone* Oh, hold on! *he calls the oompa-loompa who gives him bad news* Aw man! bad news everyone, one of my special workers called and they saw the children misbehaving. We'd better find them before the mess everything up!

Once they are ready, you can choose whether or not to use one of my candy boats to get around the factory. If you choose to use a boat, watch your step and take little ones by the hand, must not lose them! at least not yet. My special workers request that you behave yourselves at all times, no telling what might happen if you eat food from outside, drink fro the chocolate river, prank others, or... smoke.

There are power-ups and special items hidden everywhere in the factory! use them to chase the naughty kids out of whatever room they're in, but watch out! depending on the resources of the room they're in, they'll use them to fight back! try not to get too badly hurt, as I'd be so upset if anything happened to you! Lastly, if you find any sweets they're yours to keep. They're delectable and collectable!

Now do hurry! There's so much time and so little to do! Wait, no! strike that, reverse it! Thank you! Now on with our tour! right through that door *points his cane at the tiny door to the chocolate room*

Say, would you do me a favor and fetch the keys to the Chocolate Room? Then we'll see if we can't do something about all this!

[yo-sostenible]

Del 16 al 22 de septiembre, personas de todo el mundo se unirán para denunciar los miles de millones de dólares que se desperdician cada año en armas nucleares. Ya estamos escuchando acerca de los increíbles planes de nuestros socios y simpatizantes, que saldrán en masa con un mensaje claro: “¡No más dinero para armas nucleares!”. Pero si queremos llegar a los líderes de los estados con armas nucleares y sus aliados, así como a los líderes de cualquier institución o empresa involucrada en la financiación de la bomba, necesitamos inundarlos con imágenes, videos y mensajes impactantes que llegarán de todo el mundo durante toda la semana. Esto es algo que sabemos que nuestros socios pueden hacer, pero también requiere muchos recursos. ¿Nos ayudarías haciendo una donación ?Sí, voy a colaborar >> El gasto en armas nucleares está fuera de control y ahora es el momento de que todo el mundo se ponga a protestar por la cantidad descabellada de dinero que se destina cada año a estas armas de destrucción masiva. No sólo los Estados están hablando de su presupuesto para 2025, sino que los líderes mundiales también se reunirán en la ONU a finales de septiembre para debatir cómo alcanzar realmente los Objetivos de Desarrollo Sostenible. Sugerimos: “Tomen los miles de millones que se desperdician actualmente en armas nucleares y utilícenlos para alcanzar esos objetivos”. En junio, cuando revelamos que el gasto mundial en armas nucleares había aumentado hasta los 91.400 millones de dólares el año pasado, nuestro informe fue noticia en todo el mundo y desató la indignación cuando la gente pensó en qué podría haberse destinado ese dinero . Ahora es el momento de convertir la indignación en acción y exigir responsabilidades a los líderes que toman estas terribles decisiones y a quienes se benefician de esta peligrosa industria. Puedes colaborar 👉🏾 aquí Gracias, Susi Snyder Coordinador del programa y coautor del informe sobre el gasto mundial en armas nucleares de 2023

[christinamac1]

Why cost should not be an obstacle to compensating nuclear survivors

By Alicia Sanders-Zakre, Susi Snyder | July 1, 2024,  https://thebulletin.org/2024/07/why-cost-should-not-be-an-obstacle-to-compensating-nuclear-survivors/?utm_source=Newsletter+&utm_medium=Email&utm_campaign=MondayNewsletter07012024&utm_content=NuclearRisk_CompensatingNuclearSurvivors_07012024 Passing an extended and expanded Radiation Exposure Compensation Act (RECA) would be an enormous…

[hownot2doit]

… references (or: “a few books I read”) …

Andersen, Arnold, MD, with Leigh Cohn “Stories I tell my patients: 101 myths, metaphors, fables and tall tales for eating disorders recovery” Anderson, Laurie Halse “Wintergirls” Antieau, Kim “Mercy, unbound” Apostolides, Marianne “Inner hunger: a young woman’s struggle through anorexia and bulimia“ Ballard, Alexandra “What I lost” Beard, Amanda “In the water they can’t see you cry: a memoir” Brown, Harriet “Brave girl eating: a family’s struggle with anorexia” Bruch, Hilde “Eating disorders: obesity, anorexia nervosa, and the person within” Bruch, Hilde “The golden cage: the enigma of anorexia nervosa” Brumberg, Joan Jacobs “Fasting girls: the history of anorexia nervosa” Chepaitis, Barbara “Feeding Christine” Claude-Pierre, Peggy “The secret language of eating disorders: how you can understand and work to cure anorexia and bulimia“ Cohn, Leigh “Eating disorders: a reference sourcebook” Daniels, Lucy “With a woman’s voice: a writer’s struggle for emotional freedom” de Rossi, Portia “Unbearable lightness: a story of loss and gain” Eliot, Eve “Insatiable: the compelling story of four teens, food and its power” Forrest, Emma “Your voice in my head” Garfinkel, Paul, and David Garner “Handbook of treatment for eating disorders” Gold, Tracey “Room to grow: an appetite for life” Gottlieb, Lori “Stick figure” Greenfield, Lauren “Thin” Gura, Trisha “Lying in weight: the hidden epidemic of eating disorders in adult women” Hanauer, Cathi “My sister’s bones” Hautzig, Deborah “Second star to the right” Henke, Roxanne “Becoming Olivia” Hollis, Judi “Fat is a family affair” Hornbacher, Marya “Wasted, updated edition: a memoir of anorexia and bulimia” Johns, Nicole J. “Purge: rehab diaries” Kaslik, Ibi “Skinny” Kinoy, Barbara P. “Eating disorders: new directions in treatment and recovery” Kirkland, Kelsey “Dancing on my grave” Klein, Stephanie “Moose: a memoir of fat camp” Lerner, Betsy “Food and loathing: a lament” Levenkron, Steven “Anatomy of anorexia“ Levenkron, Steven “The best little girl in the world” Levenkron, Steven “Kessa” Levenkron, Steven “Treating and overcoming anorexia nervosa“ Liu, Aimee “Solitaire: the compelling story of a young woman growing up in America and her triumph over anorexia” Liu, Aimee “Gaining: the truth about life after eating disorders” Lott, Deborah A. “In session: the bond between women and their therapists” McClure, Cynthia Rowland “The monster within: overcoming bulimia” Medoff, Jillian “Hunger point” Miller, Caroline Adams “My name is Caroline” Moisin, Laura “Kid rex: the inspiring true account of a life salvaged from despair, anorexia and dark days in New York City” O’Neill, Cherry Boone “Starving for attention: a young woman’s struggle with and triumph over anorexia nervosa” O’Neill, Cherry Boone “Dear Cherry: questions and answers on eating disorders” Orbach, Susie “Fat is a feminist issue” Osgood, Kelsey “How to disappear completely: on modern anorexia” Palmer, Catherine “The happy room” Pershall, Stacy “Loud in the house of myself: memoir of a strange girl” Pierce, Bethany “Feeling for bones” Price, Nora “Zoe letting go” Rabinor, Judith Ruskay “A starving madness: tales of hunger, hope, and healing in psychotherapy” Raviv, Shani “Being Ana” Reindl, Sheila M. “Sensing the self: women’s recovery from bulimia” Rio, Linda “The anorexia diaries: a mother and daughter’s triumph over teenage eating disorders” Ronen, Tammie “In and out of anorexia: the story of the client, the therapist and the process of recovery” Ryan, Joan “Little girls in pretty boxes: the making and breaking of elite gymnasts and figure skaters” Sacker, Ira M. “Regaining your self: breaking free from the eating disorder identity: a bold new approach” Sacker, Ira M. “Dying to be thin: understanding and defeating anorexia nervosa and bulimia — a practical, lifesaving guide” Sargent, Judy Tam “The long road back: a survivor’s guide to anorexia” Schmidt, Randy L. “Little girl blue: the life of Karen Carpenter” Sey, Jennifer “Chalked up: inside elite gymnastics’ merciless coaching, overzealous parents, eating disorders, and

elusive olympic dreams” Sigler, Jamie-Lynn “Wise girl: what I’ve learned about life, love, and loss” Smith, Chelsea “Diary of an eating disorder: a mother and daughter share their healing journey” Snyder, Anne “Goodbye, paper doll” Spechler, Diana “Skinny” Taylor, Kate M. “Going hungry: writers on desire, self-denial, and overcoming anorexia” Valette, Brett “A parent’s guide to eating disorders: prevention and treatment of anorexia nervosa and bulimia” Wheeler, Kathleen (Editor) “Psychotherapy for the Advanced Practice Psychiatric Nurse” White, Kate “So pretty it hurts” Woolf, Emma “An apple a day: a memoir of love and recovery from anorexia” Yalom, Irvin D. “The Gift of Therapy: An Open Letter to a New Generation of Therapists and Their Patients” Yalom, Irvin D. “Love’s Executioner” Zgheib, Yara “The girls at 17 Swann Street”

[unpopularwiththepopulace]

Chicago at Long Beach, LA, 1992: A Story of Bebe Neuwirth, Choreography, Riots, Revivals, and Relevance

Recently and rather excitingly, more footage made its way to YouTube of the 1992 version of Chicago staged at Long Beach in LA, featuring Bebe Neuwirth as Velma and Juliet Prowse as Roxie.

Given its increased accessibility and visibility, this foregrounds the chance to talk about the show, explore some of its details, and look at the part it might have played as a contribution to the main ‘revival’ of Chicago in 1996 – which has given the show one of the most resonant and highly enduring legacies seen within the theatre ever.

This Civic Light Opera production at Long Beach was staged in 1992, four years before the ‘main’ revival made its appearance at Encores! or had its subsequent Broadway transfer, and it marked the first time a major revival of Chicago had been seen since the original 1975 show disappeared nearly 15 years previously.

This event is of particular significance given its position as the first step in the chain of events that make up part of this ‘new Chicago’ narrative and the resultant entire multiple-decade spanning impact of the show hereafter.

But for all of its pivotal status, it’s seldom discussed or remembered anywhere near as much as it should be.

This may be in part because of how little video or photographic record has remained in easily accessible form to date, and also because it only played for around two weeks in the first place. As such, it is a real treat on these occasions to get to see such incredible and unique material that would otherwise have been lost forever after such a brief existence some 30 years ago.

This earlier revival of the show still feels like what we have come to identify “Chicago” as in modern comprehension of the musical, most principally because the choreography was also done by Ann Reinking. As with the 1996 production, this meant dance was done “very much in the master’s style” – or Mr Bob Fosse.

The link below is time-stamped to Bebe and Juliet performing ‘Hot Honey Rag’. As one of the most infamous numbers in Broadway history, it’s undoubtedly a dance that has been watched many times over. But never before have I seen it done quite like this.

https://youtu.be/4HKkwtRE-II?t=2647

‘Hot Honey Rag’ was in fact formerly called ‘Keep It Hot’, and was devised by Fosse as “a compendium of all the steps he learned as a young man working in vaudeville and burlesque—the Shim Sham, the Black Bottom, the Joe Frisco, ‘snake hips,’ and cooch dancing”, making it into the “ultimate vaudeville dance act” for the ultimate finale number.

Ann would say about her choreographical style in relation to Fosse, “The parts where I really deviate is in adding this fugue quality to the numbers. For better or worse, my style is more complicated.” The ‘complexity’ and distinctness she speaks of is certainly evident in some of the sections of this particular dance. There are seemingly about double the periodicity of taps in Bebe and Juliet’s Susie Q sequence alone. One simply has to watch in marvel not just at the impressive synchronicity and in-tandem forward motion, but now also at the impossibly fast feet. Other portions that notably differ from more familiar versions of the dance and thus catch the eye are the big-to-small motion contrast after the rising ‘snake hips’ section, and all of the successive goofy but impeccably precise snapshot sequence of arm movements and poses.

More focus is required on the differences and similarities of this 1992 production compared against the original or subsequent revival, given its status and importance as a bridging link between the two.

The costumes in 1975 were designed by Patricia Zipprodt (as referenced in my previous post on costume design), notably earning her a Tony Award nomination. In this 1992 production, some costumes were “duplications” of Zipprodt’s originals, and some new designs by Garland Riddle – who added a “saucy/sassy array” in the “typical Fosse dance lingerie” style. It is here we begin to see some of the more dark, slinkiness that has become so synonymous with “Chicago” as a concept in public perception.

The sets from the original were designed by Tony Walton – again, nominated for a Tony – and were reused with completeness here. This is important as it shows some of the original dance concepts in their original contexts, given that portions of the initial choreography were “inextricably linked to the original set designs.” This sentiment is evident in the final portion of ‘Cell Block Tango’, pictured and linked at the following time-stamp below, which employs the use of mobile frame-like, ladder structures as a scaffold for surrounding movements, and also a metaphor for the presence of jail cell bars.

https://youtu.be/4HKkwtRE-II?t=741

Defining exactly how much of the initial choreography was carried across is an ephemeral line. Numbers were deemed “virtually intact” in the main review published during the show’s run from the LA Times – or even further, “clones” of the originals. It is thought that the majority of numbers here exhibit greater similarity to the 1975 production than the 1996 revival, except for ‘Hot Honey Rag’ which is regarded as reasonably re-choreographed. But even so, comparing against remaining visible footage of Gwen Verdon and Chita Rivera from the original, or indeed alternatively against Bebe and Annie later in the revival, does not present an exact match to either.

This speaks to the adaptability and amorphousness of Fosse-dance within its broader lexicon. Fosse steps are part of a language that can be spoken with subtle variations in dialect. Even the same steps can appear slightly different when being used in differing contexts, by differing performers, in differing time periods.

It also speaks to some of the main conventions of musical theatre itself. Two main principles of the genre include its capacity for fluidity and its ability for the ‘same material’ to change and evolve over time; as well as the fact comparisons and comprehensions of shows across more permanent time spans are restricted by the availability of digital recordings of matter that is primarily intended to be singular and live.

Which versions of the same song do you want to look at when seeking comparisons?

Are you considering ‘Hot Honey Rag’ at a performance on the large stage at Radio City Music Hall at the Tony Awards in 1997? Or on a small stage for TV shows, like the Howard Cosell or Mike Douglas shows in 1975? Or on press reel footage from 1996 on the ‘normal’ stage context in a format that should be as close to a replica as possible of what was performed in person every night?

Bebe often remarks on and marvels at Ann’s capacity to travel across a stage. “If you want to know how to travel, follow Annie,” she says. This exhibits how one feature of a performance can be so salient and notable on its own, and yet so precariously dependent on the external features its constrained to – like scale.

Thus context can have a significant impact on how numbers are ultimately performed for these taped recordings and their subsequent impact on memory. Choreography must adjust accordingly – while still remaining within the same framework of the intention for the primary live performances.

This links to Ann’s own choreographical aptitude, in the amount of times it is referenced how she subtly adapted each new version of Chicago to tailor to individual performers’ specific merits and strengths as dancers.

Ann’s impact in shaping the indefinable definability of how Chicago is viewed, loved and remembered now is not to be understated.

An extensive 1998 profile – entitled “Chicago: Ann Reinking’s musical” – explores in part some of Ann’s approaches to creating and interacting with the material across a long time span more comprehensively. Speaking specifically to how she choreographed this 1992 production in isolation, Ann would say, “I knew that Bob’s point of view had to permeate the show, you couldn’t do it without honoring his style.” In an age without digital history at one’s fingertips, “I couldn’t remember the whole show. So I choreographed off the cuff and did my own thing. So you could say it was my take on his thoughts.” Using the same Fosse vocabulary, then – “it’s different. But it’s not different.”

One further facet that was directly carried across from the initial production were original cast members, like Barney Martin as returning as Amos, and Michael O'Haughey reprising his performance as Mary Sunshine. Kaye Ballard as Mama Morton and Gary Sandy as Billy Flynn joined Bebe and Juliet to make up the six principals in this new iteration of the show.

Bebe, Gary and Juliet can be seen below in a staged photo for the production at the theatre.

The venue responsible for staging this Civic Light Opera production was the Terrace Theatre in Long Beach in Los Angeles. Now defunct, this theatre and group in its 47 years of operation was credited as providing some of “the area’s most high profile classics”. Indeed, in roughly its final 10 years alone, it staged shows such as Hello Dolly!, Carousel, Wonderful Town (with Donna McKechnie), Gypsy, Sunday in the Park with George, La Cage aux Folles, Follies, 1776, Funny Girl, Bye Bye Birdie, Pal Joey, and Company. The production of Pal Joey saw a return appearance from Elaine Stritch, reprising her earlier performance as Melba Snyder with the memorable song ‘Zip’. This she had done notably some 40 years earlier in the original 1952 Broadway revival, while infamously and simultaneously signed as Ethel Merman’s understudy in Call Me Madam as she documented in Elaine Stritch at Liberty.

Juliet Prowse appeared as Phyllis in Follies in 1990, and Ann Reinking acted alongside Tommy Tune in Bye Bye Birdie in 1991, in successive preceding seasons before this Chicago was staged.

But for all of its commendable history, the theatre went out of business in 1996 just 4 years after this, citing bankruptcy. Competition provided in the local area by Andrew Lloyd Webber and his influx of staging’s of his British musicals was referenced as a contributing factor to the theatre group’s demise. This feat I suspect Bebe would have lamented or expressed remorse for, given some of her comments in previous years on Sir Lloyd Webber and the infiltration of shows from across the pond: “I had lost faith in Broadway because of what I call the scourge of the British musicals. They've dehumanized the stage [and] distanced the audience from the performers. I think 'Cats' is like Patient Zero of this dehumanization.”

That I recently learned that Cats itself can be rationalised in part as simply A Chorus Line with ears and tails I fear would not improve this assessment. In the late ‘70s when Mr Webber noticed an increase of dance ability across the general standard of British theatre performers, after elevated training and competition in response to A Chorus Line transferring to the West End, he wanted to find a way he could use this to an advantage in a format that was reliable to work. Thus another similarly individual, sequential and concept-not-plot driven dance musical was born. Albeit with slightly more drastic lycra leotards and makeup.

But back in America, the Terrace theatre could not be saved by even the higher incidence of stars and bigger Broadway names it was seeing in its final years, with these aforementioned examples such as Bebe, Annie, Tommy, Juliet, Donna, or Elaine. The possibility of these appearances in the first place were in part attributable to the man newly in charge as the company’s producer and artistic director – Barry Brown, Tony award-winning Broadway producer. 

Barry is linked to Bebe’s own involvement with this production of Chicago, through his relationship – in her words – as “a friend of mine”.

At the time, Bebe was in LA filming Cheers, when she called Barry from her dressing room. Having been working in TV for a number of years, she would cite her keenness to find a return to the theatre, “[wanting] to be on a stage so badly” again. The theatre is the place she has long felt the most sense of ease in and belonging for, frequently referring to herself jokingly as a “theatre-rat” or remarking that it is by far the stage that is the “medium in which I am most comfortable, most at home, and I think I'm the best at.”

Wanting to be back in that world so intensely, she initially proposed the notion of just coming along to the production to learn the parts and be an understudy. Her desire to simply learn the choreography alone was so strong she would say, “You don’t have to pay me or anything!”

She’d had the impetus to make the call to Barry in the first place only after visiting Chita Rivera at her show in LA with a friend, David Gibson. At the time, the two did not know each other that well. Bebe had by this point not even had the direct interaction of taking over in succession for Chita in Kiss of the Spider Woman in London. This she would do the following year, with Chita guiding her generously through the intricacies of the Shaftesbury Theatre and the small, but invaluable, details known only to Chita that would be essential help in meeting stage cues and playing Aurora.

Bebe had already, however, stepped into Chita’s shoes multiple times, as Anita in West Side Story as part of a European tour in the late ‘70s, or again in a Cleveland Opera Production in 1988; and additionally as Nickie in the 1986 Broadway revival of Sweet Charity – both of which were roles Chita had originated on stage or screen. In total, Velma would bring the tally of roles that Bebe and Chita have shared through the years to four, amongst many years also of shared performance memories and friendship.

They may not have had a long history of personal rather than situational connections yet when Bebe visited her backstage at the end of 1991, but Chita still managed to play a notable part in the start of the first of Bebe’s many engagements with Chicago.

After Bebe hesitantly relayed her idea, Chita told her, “You should call! Just call!”

So call Bebe did. One should listen to Chita Rivera, after all.

Barry Brown rang her back 10 minutes later after suggesting the idea to Ann Reinking, who was otherwise intended to be playing Velma. The response was affirmative. “Oh let her play the part!”, Annie had exclaimed. And so begun Bebe’s, rather long and very important, journey with Chicago.

In 1992, this first step along the road to the ‘new Chicago’ was well received.

Ann Reinking with her choreography was making her first return to the Fosse universe since her turn in the 1986 Sweet Charity revival. Diametrically, Rob Marshall was staring his first association with Fosse material in providing the show’s direction – many years before he would go on to direct the subsequent film adaptation also. Together, they created a “lively, snappy, smarmy” show that garnered more attention than had been seen since the original closed.

“Bob Fosse would love [this production],” it was commended at the time, “Especially the song-and-dance performance of Bebe Neuwirth who knocks everyone’s socks off.” High praise.

Bebe was also singled out for her “unending energy”, but Juliet too received praise in being “sultry and funny”. Together, the pair were called “separate but equal knockouts” and an “excellent combination”.

Juliet was 56 at the time, and sadly died just four years later. Just one year after the production though, Juliet was recorded as saying, “In fact, we’re thinking of doing it next year and taking it out on the road.”

Evidently that plan never materialised. But it is interesting to note the varied and many comments that were made as to the possibility of the show having a further life.

Bebe at the time had no recollection that the show might be taken further, saying “I didn’t know anything about that.” Ann Reinking years later would remark “no one seemed to think that the time was necessarily ripe for a full-blown Broadway revival.” While the aforementioned LA Times review stated in 1992 there were “unfortunately, no current plans” for movement, it also expressed desire and a call to action for such an event. “Someone out there with taste, money and shrewdness should grab it.”

The expression that a show SHOULD move to Broadway is by no means an indication that a show WILL move. But this review clearly was of enough significance for it to be remembered and referenced by name by someone who was there when it came out at the time, Caitlin Carter, nearly 30 years later. Caitlin was one of the six Merry Murderesses, principally playing Mona (or Lipschitz), at each of this run, Encores!, and on Broadway. She recalled, “Within two days, we got this rave review from the LA Times, saying ‘You need to take the show to Broadway now!’” The press and surrounding discussions clearly created an environment in which “there was a lot of good buzz”, enough for her to reason, “I feel like it planted seeds… People started to think ‘Oh we need to revive this show!’”

The seeds might have taken a few years to germinate, but they did indeed produce some very successful and beautiful flowers when they ultimately did.

In contrast with one of the main talking points of the ‘new Chicago’ being its long performance span, one of the first things I mentioned about this 1992 iteration was the rather short length of its run. It is stated that previews started on April 30th, for an opening on May 2nd, with the show disappearing in its final performance on May 17th. Less than a fleeting 3 weeks in total.

Caitlin Carter discussed the 1992 opening on Stars in the House recently. It’s a topic of note given that their opening night was pushed back from the intended date by two days, meaning Ann Reinking and Rob Marshall had already left and never even saw the production. “The night we were supposed to open in Long Beach was the Rodney King riots.”

Local newspapers at the time when covering the show referenced this large and significant event, by noting the additional two performances added in compensation “because of recent interruptions in area social life.”

It sounds rather quaint put like that. In comparison, the horror and violence of what was actually going on can be statistically summated as ultimately leaving 63 people dead, over 2300 injured, and more than 12,000 having been arrested, in light of the aftermath of the treatment faced by Rodney King. Or more explicitly, the use of excessive violence against a black man at police hands with videotaped footage.

A slightly later published review wrote of how this staging was thus “timely” – in reference to an observed state of “the nation’s moral collapse”.

‘Timeliness’ is a matter often referenced when discussing why the 1996 revival too was of such success. The connection is frequently made as to how this time, the revival resonated with public sentiment so strongly – far more than in 1975 when the original appeared – in part because of the “exploding headlines surrounding the OJ Simpson murder case”. The resulting legal and public furore around this trial directly correlates with the backbone and heart of the musical itself.

I'm writing this piece now at the time of the ongoing trial to determine the verdict of George Floyd’s murder, another black man suffering excessive and ultimately fatal violence at police hands with videotaped footage.

I think the point is that this is never untimely. And that the nation is seldom not in some form of ‘moral collapse’, or facing events that have ramifications to do with the legal system and are emotionally incendiary on a highly public level.

Which perhaps is why Chicago worked so well not just in 1996, but also right up to the present day.

Undoubtedly, we live in a climate where the impact of events is determined not just by the events themselves, but also the manner in which they are reported in the media. Events involving some turmoil and public outrage at the state and outcome of the legal system are not getting any fewer or further between. But the emphasis on the media in an increasingly and unceasingly digital age is certainty only growing.

[rabbittstewcomics]

Episode 357

Non-Marvel/DC September 2022 Solicits

Comic Reviews:

DC:

Aquaman and Flash: Voidsong 1 by Jackson Lanzing, Collin Kelly, Vasco Georgiev, Rain Beredo

Black Adam 1 by Christopher Priest, Rafa Sandoval, Matt Herms

Dark Crisis: Young Justice 1 by Meghan Fitzmartin, Laura Braga, Luis Guerrero

Flash 783 by Jeremy Adams, Amancay Nahuelpan, Jeromy Cox

Earth Prime 6: Hero's Twilight

Milestones in History by Reginald Hudlin, Steven Barnes, Amy Chu, Melody Cooper, Leon Chills, Alice Randall, Toure, Tananarive Due, Pat Charles, Kathryn Parsons, Francesco Francavilla, Jamal Igle, Ray-Anthony Height, Denys Cowan, Eric Battle, Don Hudson, Ron Wilson, Arvell Jones, Maria Laura Sanapo, Domo Stanton, Jahnoy Lindsay, John Stanisci, Jose Marzan Jr, Mike Gustovich, Chris Sotomayor, Michael Atiyeh, Emilio Lopez, Hi-Fi, Dan Brown, Eva De La Cruz, Andrew Dolhouse

Superman's Pal Jimmy Olsen's Boss Perry White by Matt Fraction, Steve Lieber, et al

Marvel:

Marvel's Voices Pride 2022 by Mike O’Sullivan, Stuart Vandal, Rob London, Andrew Wheeler, Daron Jensen, Alyssa Wong, Patrick Duke, Chris McCarver, Christopher Cantwell, Danny Lore, Luc Kersten, Grace Freud, Ira Madison III, Alex Philips, Charle Jane Anders, Ted Brandt, Kei Zama, Lucas Werneck, Brittney Williams, Ro Stein, Scott Henderson, Lorenzo Susi, Stephen Byrne, Lee Townsend, Rachelle Rosenberg, Rico Renzi, Jose Villarrubia, Michael Wiggam, Tamra Bonvillain, Brittany Peer

Miles Morales and Moon Girl 1 by Mohale Mashigo, Ig Guara, Rachelle Rosenberg

New Fantastic Four 1 by Peter David, Alan Robinson, Mike Spicer

Punisher War Journal: Blitz by Torunn Gronbekk, Lan Medina, Antonio Fabela

Who is Jane Foster Thor Infinity Comic by Torunn Gronbekk, Leonard Kirk, Matt Milla

Marvel Meow 9 by Nao Fuji

Image:

Beware the Eye of Odin 1 by Doug Wagner, Tim Odland

Clementine GN by Tillie Walden, Cliff Rathburn 

Silver Coin 11 by James Tynion IV, Michael Walsh

Dark Horse:

Lonesome Hunters 1 by Tyler Crook

Ahoy:

Wrong Earth: Confidence Men 1 by Mark Waid, Leonard Kirk

Dynamite:

Samurai Sonja 1 by Jordan Clark, Pasquale Qualano

OGNs:

Runaways Diary by Emily Raymond, Valeria Wicker, James Patterson

Creepy Cat vol 3 by Cotton Valent

Additional Reviews: Obi-Wan ep6, Ms. Marvel ep3, Kevin Can F*** Himself s1, Star Trek: Prodigy s1, Spiderhead, Absolute Fourth World vol 1, Trevor: The Musical, Bone Orchard Mythos Passageway, Centaurworld

  A new feature announced!

  News: Kraven movie plot, Conan license to Titan, Omninews, Miracleman Silver Age, Riverdale spinoff featuring Jake Chang, Scout kickstarts Stabbity Bunny, new OGN series from Molly Knox Ostertag

  Trailers: Stranger Things s4.2

  Comics Countdown:

Batman: The Knight 6 by Chip Zdarsky, Carmine Di Giandomenico, Ivan Plascencia

Deadly Class 53 by Rick Remender, Wes Craig, Lee Loughridge

Newburn 8 by Chip Zdarsky, Jacob Phillips , Casey Gilly, Soo Lee

Nocterra 11 by Scott Snyder, Tony Daniel, Marcelo Maiolo

Nightwing 93 by Tom Taylor, Bruno Redondo, Wade Von Grawbadger, Adriano Lucas

Lonesome Hunters 1 by Tyler Crook

Something is Killing the Children 24 by James Tynion IV, Werther Dell’Edera, Miquel Muerto

I Hate This Place 2 by Kyle Starks, Artyom Topilin, Lee Loughridge

Beware the Eye of Odin 1 by Doug Wagner, Tim Odland

Flash 783 by Jeremy Adams, Amancay Nahuelpan, Jeromy Cox

Check out this episode!

[thediverismylove]

tagged by @varandra to post some books im excited to read in 2021! i have a huge tbr pile so these are just a few <3 if u would like to do this consider urself tagged

the elegance of the hedgehog by muriel barbery

so you’ve been publicly shamed by jon ronson

white ivy by susie yang

speedboat by renata adler

the custom of the country by edith wharton

orlando by virginia woolf

no visible bruises by rachel louise snyder

american spy by lauren wilkinson

the year of the witching by alexis henderson

upstream by mary oliver

commonwealth by ann patchett

angels in america by tony kushner

notes of a crocodile by qiu miaojin

nine perfect strangers by liane moriarty 

horrorstor by grady hendrix

[overthedoors]

Susi Snyder, ICAN: “Questa è l’occasione per dare la priorità agli esseri umani” 10.10.2017 - Dario Lo Scalzo Quest'articolo è disponibile anche in: Inglese (Foto di Dario Lo Scalzo)

[antikorg]

» Comment l’industrie de l’armement nucléaire finance la recherche des think-tanks

» Comment l’industrie de l’armement nucléaire finance la recherche des think-tanks

2021-09-13 07:00:34 Les Crises Une étude récente révèle que toutes les grandes institutions travaillant sur la politique nucléaire reçoivent des fonds de sociétés ayant un intérêt direct dans ce domaine. Source : Responsible Statecraft, Alicia Sanders-Zakre, Susi Snyder Traduit par les lecteurs du site Les-Crises   (shutterstock/vchl) Si vous lisez un rapport sur les armes nucléaires, il y a…

[christinamac1]

Why cost should not be an obstacle to compensating nuclear survivors

The United Kingdom provided a “full and final” settlement payment of £20 million to Australia in 1993 to remediate former nuclear tests sites there, in comparison to the £6.5 billion ($8.1 billion) it spent on its nuclear arsenal in 2023. By Alicia Sanders-Zakre, Susi Snyder | July 1, 2024,…

[roysexton]

A bit of Zoom play-reading (the #PiedPiper AKA yours truly), my quick take on Zack Snyder’s #JusticeLeague mulligan, and my mom Susie Sexton’s assessment of the film #PromisingYoungWoman starring #CareyMulligan.

https://reelroyreviews.com/2021/03/21/yours-truly-as-the-pied-piper-of-hamelin-for-pass-the-time-players-quick-takes-on-the-films-zack-snyders-justice-league-and-promising-young-woman/

[adiamondsrae]

✨🖤✨ The King 👑 & The God ✨🦍👑🦖✨ ✨✨ 18 MINUTES of fighting !!! HAWT DAMN ! I can’t wait to see it SO EXCITED ✨💯✨ ✨✨ Wednesday as Cristina Ricci, Eva Green, and Johnny Depp as Morticia and Gomez Addams...(fan made) I LOVE IT ✨����✨😍🥰✨ ✨✨ Rugrats 2021...I was on the fence about the series but now after watching the trailer...it honestly gives me the FEELS...the childhood feels !!! So I can’t wait to see Paramount + bring back the show . LOVE RUGRATS & Reptar & Susie ✨🖤✨🤩✨ ✨✨That bloody 🩸 fountain is giving me Mortal Kombat fatality VIBES !! The new Mortal Kombat film is going to be SO awesome and it makes me feel they can make a future great new reboot of a Street Fighter film ...I JUST NEED Scorpion 🦂 to PUT SOME BASS in his chest with that classic “GET OVER HERE” ✨✨✨✔️💯✨ ✨✨Army Of The Dead !!! Looks badass !!! Zack Snyder is a great director and I love seeing his projects and seeing this film’s trailer 🎞 🎥 which is SO different from the rest of his darker films...just SUPER EXCITING TO SEE ! Plus the film has a pretty corky cast ! #BlackGirlsLoveHorrorToo #BGLHT #Melanin #BlackGirlMagic #Cosplay #Horror #Halloween #HalloweenIsYearRound #HorrorMovies #Scary #HorrorFan #Movie #HorrorMovie #HorrorArt #HorrorFilm #Spooky #LaCorona #CoronaVirus #StayHome #QuarantineLife #BlackLivesMatter #WeAreNotJustAnotherHashtag #BlackGirlsAndBoyGotThatMagic #BlackGirlsAndBoysAreMagical #StopPaintingUsAsAMinority #StopPaintingBlacknessLikeItsABadThing #WeAreNotTheMinority https://www.instagram.com/p/CL09QebFp8A/?igshid=1pwo1pqn1ijpg

[rabbittstewcomics]

Episode 322

Jan 2022 Solicits

Comic Reviews:

Batman: Secret Files - Peacekeeper-01 by James Tynion IV, Ed Brisson, Joshua Hixson, Roman Stevens

Catwoman: Lonely City 1 by Cliff Chiang

Nubia and the Amazons 1 by Vita Ayala, Stephanie WIlliams, Alitha Martinez, Mark Morales, Emilio Lopez

Refrigerator Full of Heads 1 by Rio Youers, Tom Fowler

Phoenix Song: Echo 1 by Rebecca Roanhorse, Luca Maresca, Carlos Lopez

It's Jeff 8 by Kelly Thompson, Gurihiru

Reckless: Destroy All Monsters HC by Ed Brubaker, Sean Phillips, Jacob Phillips

Critical Role: The Tales of Exandria: The Bright Queen 1 by Matthew Mercer, Darcy Van Poelgeest, Couple of Kooks, Cris Peter

Orville: Artifacts 1 by David Goodman, David Cabeza, Michael Atiyeh

Purgatori 1 by Ray Fawkes, Alvaro Sarresca

Night of the Ghoul 1 by Scott Snyder, Francis Manapul

Dungeons and Dragons: Mindbreaker 1 by Jim Zub, Eduardo Mello, Katrina Mae Hao

Aggretsuko: Super Fun Special by Josh Tierney, Brenda Hickey, Sarah Stern, Shadia Amin, Abigail Starling

Aggretsuko: Down the Rabbit Hole OGN by Patabot, Andrew Dalhouse

Pop Star Assassin 1 by Matthew Cashel, Ed Lavallee, Marcelo Basile

Minney Mouse: The Perfect Book OGN by Brooke Vitale

Just Beyond: Monstrosity by R.L. Stine, Irene Flores, Lea Cavallero, Joana LaFuente

Willy's Wonderland 1 by S.A. Check, James Kuhoric, Puis Calzada

Someone To Talk To by Gregory Panaccione, Cyril Massarotto

Little Sister by Johann Louis, Susie Morgenstern

The Whale Library by Zidrou, Judith Vanistendael

Additional Reviews: Dune, Escape the Undertaker, Joker, Injustice Omnibus Vol 2

News: Omninews, printing issues, Ruby Rose vs. CW, Alysia casting call for Batgirl, Brendan Frasier cast, Kamala Khan power-swap, Razorblades Year One HC, Image syzygy, Hayden Christiansen returns as Anakin, Avengers Disney cruise

Trailers: Uncharted, Diary of a Wimpy Kid

Comics Countdown:

Reckless: Destroy All Monsters by Ed Brubaker, Sean Phillips, Jacob Phillips

Night of the Ghoul 1 by Scott Snyder, Francis Manapul

Someone to Talk To by Gregory Panaccione, Cyril Massarotto

Catwoman: Lonely City 1 by Cliff Chiang

Batman 115 by James Tynion, Michael Conrad, Becky Cloonan, Bengal, Jorge Corona, Jorge Jimenez, Tomeu Morey, Sarah Stern

Thor 18 by Donny Cates, Pasqual Ferry

Tales From Harrow County: Fair Folk 4 by Cullen Bunn, Emily Schnall, Tyler Crook

Not All Robots 3 by Mark Russell, Mike Deodato Jr, Lee Roughridge

TMNT 122 by Sophie Campbell, Jodi Nishijima, Kevin Eastman, Ronda Pattison

Superman: Son of Kal-El 4 by Tom Taylor, John Timms

Check out this episode!

[jutta111]

Zu den beliebtesten Tauschgütern unserer IUFF Crowdfunding Kampagne 2020 gehört der neu erschienene URANATLAS. Autore*innen: Thorb.en Becker, Claus Biegert, Dr. Horst Hamm, Günter Hermeyer, Manfred Kriener, Winona LaDuke, Linda Pentz Gunter, Mia Pepper, Mycle Schneider, Susi Snyder. Inhalt: Seit den 1930er Jahren wird Uran aus der Erde geholt, zuerst in der belgischen Kolonie Kongo, dann jahrzehntelang in Südafrika und heute in Namibia und Niger. Uran steckt in AKWs, Atombomben und Geschossen, die Panzer durchdringen. Nur 10 Konzerne dominieren den weltweiten Markt. Mit 130 Atommeilern am Netz ist die Europäische Union immer noch der weltweit größte Verbraucher. Auch in Deutschland wird trotz beschlossenem Atomausstieg an der vierten AKW-Generation geforscht. Doch mit Milliardenverlusten und der Konkurrenz durch die Erneuerbaren ist Atomenergie ein Auslaufmodell – während der Müll, inzwischen sind weltweit 350.000 hochradioaktive Tonnen angefallen, weiter strahlt. Warum Uran in der Erde bleiben sollte, erklärt auf 50 Seiten der Uranatlas. Einige Exemplare sind noch da, und über unsere Crowdfunding-Seite kann man diese noch bis 23.1., 11.30 Uhr, buchen: https://www.ecocrowd.de/projekte/iuffberlin8/ #iuffberlin #aboutnukes #uranium #uraniumfilmfestival #crowdfunding #ecocrowd #berlin #instаdаilycontent #uranatlas #clausbiegert https://www.instagram.com/p/B7oh-tfI5Q3/?igshid=1p51p61d8rxc

[overthedoors]

Susi Snyder di ICAN ricevuta alla Camera: “Continuiamo gli sforzi per il disarmo nucleare” 10.10.2017 - Roma - Rete Italiana per il Disarmo La presidente dello Steering Group dell’organizzazione Premio Nobel per la Pace, accompagnata da rappresentanti di Senzatomica e Rete Italiana per il Disarmo, ha incontrato rappresentanti di tutte le forze politiche allo scopo di stimolare l’Italia a fare la propria parte per la messa al bando degli ordigni nucleari.

[giallofever2]

I tre volti della paura

Data di uscita: 17 agosto 1963 (Italia)

Regista: Mario Bava

Musiche Roberto Nicolosi

Episodi

Il telefono

I Wurdulak

La goccia d'acqua

Paese di produzione: 🇮🇹 , 🇫🇷

Scritto da: Aleksej Konstantinovič Tolstoj, F.G. Snyder, Ivan Chekhov

Cinematografia: Mario Bava, Ubaldo Terzano

Curiosità

Distribuito all'estero con il titolo in lingua inglese Black Sabbath ha ispirato il nome dell'omonima heavy metal band inglese, che lo prese proprio da questo film

La versione destinata al mercato USA differisce da quella italiana.

Le differenze sono significative in particolar modo nell'ordine differente degli episodi e nella struttura dell'episodio Il telefono, in cui il chiaro riferimento al rapporto lesbo delle due protagoniste alle anteprime americane fu considerato troppo esplicito in termini di erotismo, per cui la vicenda fu convertita in una storia di fantasmi, offuscando e rendendo in tal modo poco chiara la natura del rapporto fra le due donne.

La versione statunitense, inoltre, presenta un diverso ordine degli episodi e una presenza maggiore di Boris Karloff che introduce ogni episodio. La struttura della trama ha influenzato Quentin Tarantino nella realizzazione di Pulp Fiction e Roman Polański per L'inquilino del terzo piano

I tre volti della paura non ebbe particolare successo al botteghino, incassando circa 103,5 milioni di lire italiane, che non gli permisero di rientrare nei costi di produzione.

Negli Stati Uniti, Black Sabbath fu solo un modesto successo, guadagnando poco più che la metà del precedente La maschera del demonio

Cast

Il telefono

Michèle Mercier: Rosy

Lydia Alfonsi: Mary

Milo Quesada: Frank

I Wurdalak

Boris Karloff: Gorca

Mark Damon: Vladimir D'Urfe

Susy Andersen: Sdenka

Massimo Righi: Pietro

Glauco Onorato: Giorgio

Rika Dialina: Maria

La goccia d'acqua

Jacqueline Pierreux: Helen Chester

Milly Monti: l'infermiera

Herriet Medin: miss Perkins

Gustavo De Nardo: ispettore di polizia