Friday, July 16, 2010



  1. Doubt seriously I know how to remark on the marxist-feminist implications, but are you referring to the original show from about 1971-2? since that lyric was already *replete* with the production by then? I saw it about 1974, didn't think a lot of it, anyway Ms. Channing in the movie of 1978, which was considerably better--at least when you were watching it, it was all on ozone, but not when you compared it to Travolta's previous 'Saturday Night Fever', which still has a poetry to it. 'Grease' evaporates right after you see it. I am sincerely sorry to say this, but Ms. Channing is severely wanting as a singer, and is constantly off-pitch. As Ms. Rizzo, why didn't they haul in Connie Francis to dub her? She is NEVER flat, no matter what else. Star was waning by then, though, I guess, and this is not the kind of musical that usually has dubbing. You know who really can sing superbly in 1978 musical? Beverly d'Angelo in 'Hair', and she STILL sings at the Roosevelt Hotel in Hollywood. I can't believe she and Al Pacino had twins and then he harassed her for awhile. People will do anything. Had forgotten all about Ms. Channing, though. d'Angelo sings 'Good Morning Starshine' stupendously in 'Hair' and also did her own singing as Patsy Cline in the Loretta Lynn bio. She's very underrated.

  2. Well not marxist feminist implications, just some basic reminders of mainstream culture ('71 was the year the musical premiered, as you say) - I'm not very fond of this musical actually, and I think it can be seen even as reactionary in its time, but even so, this was the view of the bad girl whose mode of femininity and sartorial style actually wins, converting the good girl. I also posted it after a private exchange about ethnicity as relevant to Madonna and Jessica Valenti and the way Valenti is selected for attack by reactionaries (her "provocative" posture with Clinton enrages Ann Althouse, her narcissism and foul mouth and vulgar manners appall the english middle classes) - their particular manner of self-assertion and the Catholic Patriarchal Virgin/Whore LoveHate opposition it assumes (see Who's That Knocking At My Door and Jungle Fever for elaborations).

    Al Pacino has the best facelift ever done.