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Grease is a musical with music, lyrics, and a book by Jim Jacobs and Warren Casey, with additional songs by John Farrar. Named after the 1950s United States working-class youth subculture known as greasers, the musical is set in 1959 at fictional Rydell High School (based on Taft High School in Chicago, Illinois[1] and named after rock singer Bobby Rydell) and follows ten working-class teenagers as they navigate the complexities of peer pressure, politics, personal core values, and love.[2]
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The score borrows heavily from the sounds of early rock and roll. In its original production in Chicago, Grease was a raunchy, raw, aggressive, vulgar show. Subsequent productions toned down the more risqué content.[3] The show mentions social issues such as teenage pregnancy, peer pressure, and gang violence; its themes include love, friendship, teenage rebellion, sexual exploration during adolescence, and, to some extent, class consciousness and class conflict. Jacobs described the show's basic plot as a subversion of common tropes of 1950s cinema, since the female lead, who in many 1950s films transformed the alpha male into a more sensitive and sympathetic character, is instead drawn into the man's influence and transforms into his wild, roguish fantasy.[4]
Grease was first performed on February 5, 1971 at Kingston Mines nightclub in Chicago.[5] From there, it has been successful on both stage and screen, but the content has been diluted and its teenage characters have become less Chicago habitués (the characters' Polish-American backgrounds in particular are ignored with last names often changed, although two Italian-American characters are left identifiably ethnic) and more generic. At the time that it closed in 1980, Grease's 3,388-performance run was the longest yet in Broadway history, although it was surpassed by A Chorus Line on September 29, 1983. It went on to become a West End hit, a successful feature film, two popular Broadway revivals in 1994 and 2007, and a staple of regional theatre, summer stock, community theatre, and high school and middle school drama groups.[6] It remains Broadway's 16th longest-running show.[7]
In 1984, the Mexican [then pre-teen] pop band Timbiriche starred in the musical, with Sasha Sokol and Benny Ibarra in the leading roles, which was an overwhelming success. The band also released an album (Vaselina) featuring themes from the musical. The cast included other members of Timbiriche (Diego Schoening, Mariana Garza, Alix Bauer, Paulina Rubio and Erik Rubin), along with other child singers and actors such as Eduardo Capetillo, Stephanie Salas, Thalía, Edith Márquez, Lolita Cortés, Hector Suarez Gomis, Usi Velasco and Angélica Ruvalcaba. The musical was produced by the Mexican actress and producer Julissa.
As the Burger Palace Boys and Pink Ladies gather at the park, Danny reveals to the rest of the greasers that he has joined the track team, much to their dismay and skepticism. After Roger and Jan bicker about food, drink and religion, she asks him how he earned the nickname Rump; he explains that, as "King of the Mooners", he has a hobby of baring his backside to unsuspecting victims, and in the process, both reveal their affections for each other ("Mooning"). Rizzo teases Danny for falling for a girl who resembles the excessively proper teenage ingénue, Sandra Dee, and the other greasers join in as she makes fun of Sandy, who has not arrived to the picnic yet ("Look at Me, I'm Sandra Dee").
The three remaining boys go into the Burger Palace for a snack before the fight, and Frenchy laments at what to do with her life, having dropped out of beauty school in frustration at failing all of her classes. The heavenly Teen Angel appears with a chorus of back-up singing angels and tells her to return to high school ("Beauty School Dropout").
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The beautiful anime porn story Maki-chan to Nau episode 2 is about a love triangle between a artful guy Seichi his at all times horny neighbor Sanjou and her younger sister Yuki. The small sister turns out like a younger copy of her lovely older sister and of course when Seichi has an opportunity to spend an evening at the side of her, he does no longer waist the time merely on the be in contact. Whom Seichi will make a selection the younger angel or passionate older one?
At your new school, Rawley Academy, all the kids are rich, including your roommate Scout. He's a decent guy, but he has his own issues: He's falling in love with a townie named Bella, and some heavy stuff is about to land on them. In the meantime, there's new-kid hazing to contend with, and you end up standing in the center of town in your underwear. Luckily, you're good looking--you and Scout look better in your boxers than most people look dressed--so when the girls in town laugh at you, it's, like, no big deal. Welcome to the world of the WB Network's latest teen drama, Young Americans, which premiered July 12, for an eight-episode summer run.
For those of you who have managed to avoid the hype that has surrounded the WB since its inception three years ago, here's a primer: The WB specializes in shows for and about teens and young adults--that small but prized demographic we've been hearing about since advertisers discovered how much money they spend. And although other networks occupy particular niches--CBS is known for its older audience and NBC for its must-see sitcoms, for example--no network is quite as distinctive as the WB. If you were to come upon Young Americans (or Dawson's Creek or Felicity or Buffy the Vampire Slayer or Jack and Jill or Roswell), while channel surfing, you would recognize WB-land immediately. The girls, played by actresses at least a few years older than their characters, sport flawless skin and a trademark faraway look in their slightly glassy eyes, as if they are looking ahead to a time when they will no longer have to play teenagers, and the boys are, well, pretty. The scenery has a luminous, unreal quality, whether it's the New York in which the title character of Felicity is filmed crossing the street in slow motion or the fictional, unseasonably mild Cape Cod town of Dawson's Creek. In short, the teen years are portrayed on the WB not as they are (more realistic portrayals like ABC's critically acclaimed and quickly canceled My So-Called Life and last season's Freaks and Geeks proved that too much reality is too much to take on a weekly basis), but as we adults would like to remember them. On the WB, the teen years are bathed in soft, flattering light, a time when your friends looked at you as if you meant the world to them, and even misery, when accompanied by the right soundtrack, had an enticing beauty to it.
It's all too easy to make fun of, and the critics have done so--at great length. What they seem less likely to notice is that WB shows tend to be well-written and populated by interestingly (if not too believably) articulate teenagers. And in spite of a healthy dose of melodrama--in the pilot of Young Americans alone, the ensemble cast faces cheating, incest of Greek tragedy proportions, adultery, and a Shakespearean girl-masquerades-as-boy plot all at once--there is something at the core of these shows that is worth noting. While WB-land is certainly not real, it has a breadth of focus that's far more true to life than the so-called reality-based shows like MTV's Real World and CBS's summer hit Survivor. Unlike the participants in these shows, the teens on the WB are characterized by both conscience and moral concern.
In this way, the WB features a conception of teenhood that is also markedly different from the big screen's. In supposedly era-defining films like Risky Business and Fast Times at Ridgemont High and last year's hit American Pie, teenagers are self-involved pleasure seekers with little more on their minds than sex and occasionally love. In contrast, the teens of Young Americans, like their WB predecessors, are preoccupied with navigating their way into adulthood within some (albeit vague) moral framework. Don't get me wrong: The WB is neither preachy nor intellectual, and it never transcends the sanitized morality of network television. But what does distinguish WB teens from other pop culture teens is a sense that doing the right thing is hard but worthy work.
Ten years ago, viewers frustrated by the stream of summer reruns had an opportunity to tune into the FOX network for all new episodes of Beverly Hills 90210. It was a successful marketing ploy for FOX, leading to another nine seasons for that teen show, and it may be that the WB has the same hopes for this summer run of Young Americans. Early 90210 was also similar to Young Americans in its focus: Twin teen transplants from Minnesota to Beverly Hills were, like Will Krudski (Rodney Scott), less privileged than their new peers and struggling to maintain their moral center. But it was only a matter of a few seasons before the twins were as caught up as everybody else in the web of ways in which money corrupts. By then, the FOX network itself was evolving from its position as a pioneer of teen-oriented entertainment to a home for trash TV (Melrose Place; Models, Inc.) reminiscent of 1980s hits like Dynasty and Dallas, in which wealth and the backstabbing and conniving of the wealthy were glorified. That could be the fate of Young Americans, too, if imaginations at the WB succumb to temptation-- or to the pressures generated when a network finishes regularly at the bottom of the Nielsens. But so far, in contrast to what developed on 90210, the teens of the WB seem exceedingly mature. While 90210 heartthrob Dylan McKay (Luke Perry) struggled with alcoholism and fast cars, Dawson Leery (James Van Der Beek) and Pacey Witter (Joshua Jackson), the best friends and co-heartthrobs of Dawson's Creek, spend their time emoting, as often to one another as to their girlfriends. 041b061a72