Grease Musical Quotes

I got to play Kim in Bye Bye Birdie, Sandy in Grease, and Maria in The Sound of Music. And it was so much fun for me, but the thing that I looked forward to the most was at the cast parties. After the shows they had karaoke machines set up and that's when I could sing country music.

There was also the socio-psychic factor. Every now and then when your life gets complicated and the weasels start closing in, the only real cure is to load up on heinous chemicals and then drive like a bastard from Hollywood to Las Vegas. To relax, as it were, in the womb of the desert sun. Just roll the roof back and screw it on, grease the face with white tanning butter and move out with the music at top volume, and at least a pint of ether.

Gopnik has tested this hypothesis on children in her lab and has found that there are learning problems that four-year-olds are better at solving than adults. These are precisely the kinds of problems that require thinking outside the box, those times when experience hobbles rather than greases the gears of problem solving, often because the problem is so novel. In one experiment, she presented children with a toy box that lights up and plays music when a certain kind of block is placed on top of it. Normally, this “blicket detector” is set to respond to a single block of a certain color or shape, but when the experimenter reprograms the machine so that it responds only when two blocks are placed on it, four-year-olds figure it out much faster than adults do.

In all seriousness, Archer claims that if you, as a living, alive person, hear the song "You're the One That I Want" from the musical Grease three times in a single day - seemingly by accident, whether in an elevator, on a radio, a telephone hold button, or whatever - it indicates that you'll surely die before sunset.

All Carolina folk are crazy for mayonnaise, mayonnaise is as ambrosia to them, the food of their tarheeled gods. Mayonnaise comforts them, causes the vowels to slide more musically along their slow tongues, appeasing their grease-conditioned taste buds while transporting those buds to a place higher than lard could ever hope to fly. Yellow as summer sunlight, soft as young thighs, smooth as a Baptist preacher's rant, falsely innocent as a magician's handkerchief, mayonnaise will cloak a lettuce leaf, some shreds of cabbage, a few hunks of cold potato in the simplest splendor, restyling their dull character, making them lively and attractive again, granting them the capacity to delight the gullet if not the heart. Fried oysters, leftover roast, peanut butter: rare are the rations that fail to become instantly more scintillating from contact with this inanimate seductress, this goopy glory-monger, this alchemist in a jar. The mystery of mayonnaise-and others besides Dickie Goldwire have surely puzzled over this_is how egg yolks, vegetable oil, vinegar (wine's angry brother), salt, sugar (earth's primal grain-energy), lemon juice, water, and, naturally, a pinch of the ol' calcium disodium EDTA could be combined in such a way as to produce a condiment so versatile, satisfying, and outright majestic that mustard, ketchup, and their ilk must bow down before it (though, a at two bucks a jar, mayonnaise certainly doesn't put on airs)or else slink away in disgrace. Who but the French could have wrought this gastronomic miracle? Mayonnaise is France's gift to the New World's muddled palate, a boon that combines humanity's ancient instinctive craving for the cellular warmth of pure fat with the modern, romantic fondness for complex flavors: mayo (as the lazy call it) may appear mild and prosaic, but behind its creamy veil it fairly seethes with tangy disposition. Cholesterol aside, it projects the luster that we astro-orphans have identified with well-being ever since we fell from the stars.

Questions of Travel There are too many waterfalls here; the crowded streams hurry too rapidly down to the sea, and the pressure of so many clouds on the mountaintops makes them spill over the sides in soft slow-motion, turning to waterfalls under our very eyes. —For if those streaks, those mile-long, shiny, tearstains, aren't waterfalls yet, in a quick age or so, as ages go here, they probably will be. But if the streams and clouds keep travelling, travelling, the mountains look like the hulls of capsized ships, slime-hung and barnacled. Think of the long trip home. Should we have stayed at home and thought of here? Where should we be today? Is it right to be watching strangers in a play in this strangest of theatres? What childishness is it that while there's a breath of life in our bodies, we are determined to rush to see the sun the other way around? The tiniest green hummingbird in the world? To stare at some inexplicable old stonework, inexplicable and impenetrable, at any view, instantly seen and always, always delightful? Oh, must we dream our dreams and have them, too? And have we room for one more folded sunset, still quite warm? But surely it would have been a pity not to have seen the trees along this road, really exaggerated in their beauty, not to have seen them gesturing like noble pantomimists, robed in pink. —Not to have had to stop for gas and heard the sad, two-noted, wooden tune of disparate wooden clogs carelessly clacking over a grease-stained filling-station floor. (In another country the clogs would all be tested. Each pair there would have identical pitch.) —A pity not to have heard the other, less primitive music of the fat brown bird who sings above the broken gasoline pump in a bamboo church of Jesuit baroque: three towers, five silver crosses. —Yes, a pity not to have pondered, blurredly and inconclusively, on what connection can exist for centuries between the crudest wooden footwear and, careful and finicky, the whittled fantasies of wooden cages. —Never to have studied history in the weak calligraphy of songbirds' cages. —And never to have had to listen to rain so much like politicians' speeches: two hour of unrelenting oratory and then a sudden golden silence in which the traveller takes a notebook, writes: "Is it lack of imagination that makes us come to imagined places, not just stay at home? Or could Pascal have been entirely right about just sitting quietly in one's room? Continent, city, country, society: the choice is never wide and never free. And here, or there...No. Should we have stayed at home, wherever that may be?

There was also socio-psychic factor. Every now and then when your life gets complicated and the weasels start closing in, the only real cure is to load up on heinous chemicals and then drive like a bastard from Hollywood to Las Vegas. To relax, as it were, in the womb of the desert sun. Just roll the roof back and screw it on, grease the face with white tanning butter and move out with the music at top volume, and at least a pint of ether.

In all seriousness, Archer claims that if you, as a living, alive person, hear the song “You’re the One That I Want” from the musical Grease three times in a single day—seemingly by accident, whether in an elevator, on a radio, a telephone hold button, or wherever—it indicates that you’ll surely die before sunset. In contrast, the phantom odor of scorched toast merely means that a deceased loved one continues to watch over you and protect you from harm.

Sports and musicals, the seventh level of Hell.” I gasped, hand to my heart. Ari facepalmed. “Now you’ve done it.” “Grease is the seminal cinematic exploration of teen culture,” I said. Kane grabbed a napkin. “No way. Cruel Intentions.

After three years of music-hall and theatre I'm still the same: always ready too soon. Ten thirty-five. . . . I'd better open that book lying on the make-up shelf, even though I've read it over and over again, or the copy of Paris-Sport the dresser was marking just now with my eyebrow pencil; otherwise I'll find myself all alone, face to face with that painted mentor who gazes at me from the other side of the looking-glass, with deep-set eyes under lids smeared with purplish grease-paint. Her cheek-bones are as brightly coloured as garden phlox and her blackish-red lips gleam as though they were varnished. She gazes at me for a long time and I know she is going to speak to me. She is going to say: "Is that you there? All alone, therr in that cage where idle, impatient, imprisoned hands have scored the white walls with interlaced initials and embellished them with crude, indecent shapes? On those plaster walls reddened nails, like yours, have unconsciously inscribed the appeal of the forsaken. Behind you a feminine hand has carved Marie, and the name ends in a passionate mounting flourish, like a cry to heaven. Is it you there, all alone under that ceiling booming and vibrating beneath the feet of dancers, like the floor of a mill in action? Why are you there, all alone? And why not somewhere else?" Yes, this is the dangerous, lucid hour. Who will knock at the door of my dressing-room, what face will come between me and the painted-mentor peering at me from the other side of the looking-glass? Chance, my master and my friend, will, I feel sure, deign once again to send me the spirits of his unruly kingdom. All my trust is now in him----and in myself. But above all in him, for when I go under he always fishes me out, seizing and shaking me like a life-saving dog whose teeth tear my skin a little every time. So now, whenever I despair, I no longer expect my end, but some bit of luck, some commonplace little miracle which, like a glittering link, will mend again the necklace of my days. Faith, that is what it is, genuine faith, as blind as it sometimes pretends to be, with all the dissembling renunciations of faith, and that obstinacy which makes it continue to hope even at the moment if crying. "I am utterly forsaken!" There is no doubt that, if ever my heart were to call my master Chance by another name, I should make an excellent Catholic.

Music is exquisite and requisite. It is the creative juice that greases the machinery for insight and serendipity. It unlocks the right brain, opening a door to novel domains. It constructs neural networks and fosters pattern recognition. It trains willpower and discipline. Playing music builds a bigger and better highway between the two sides of the brain. Its myelinated interconnectivity nurtures out-of-the-box thinking and simulates meditation and flow. Like dreaming, it allows our powerful unconscious mind to sift and filter all the accumulated detritus into a meaningful story.

if they label you soft, feather weight and white-livered, if the locker room tosses back its sweaty head, and laughs at how quiet your hands stay, if they come to trample the dandelions roaring in your throat, you tell them that you were forged inside of a woman who had to survive fifteen different species of disaster to bring you here, and you didn’t come to piss on trees. you ain’t nobody’s thick-necked pitbull boy, don’t need to prove yourself worthy of this inheritance of street-corner logic, this blood legend, this index of catcalls, “three hundred ways to turn a woman into a three course meal”, this legacy of shame, and man, and pillage, and man, and rape, and man. you boy. you won’t be some girl’s slit wrists dazzling the bathtub, won’t be some girl’s, “i didn’t ask for it but he gave it to me anyway”, the torn skirt panting behind the bedroom door, some father’s excuse to polish his gun. if they say, “take what you want”, you tell them you already have everything you need; you come from scabbed knuckles and women who never stopped swinging, you come men who drank away their life savings, and men who raised daughters alone. you come from love you gotta put your back into, elbow-grease loving like slow-dancing on dirty linoleum, you come from that house of worship. boy, i dare you to hold something like that. love whatever feels most like your grandmother’s cooking. love whatever music looks best on your feet. whatever woman beckons your blood to the boiling point, you treat her like she is the god of your pulse, you treat her like you would want your father to treat me: i dare you to be that much man one day. that you would give up your seat on the train to the invisible women, juggling babies and groceries. that you would hold doors, and say thank-you, and understand that women know they are beautiful without you having to yell it at them from across the street. the day i hear you call a woman a “bitch” is the day i dig my own grave. see how you feel writing that eulogy. and if you are ever left with your love’s skin trembling under your nails, if there is ever a powder-blue heart left for dead on your doorstep, and too many places in this city that remind you of her tears, be gentle when you drape the remains of your lives in burial cloth. don’t think yourself mighty enough to turn her into a poem, or a song, or some other sweetness to soften the blow, boy, i dare you to break like that. you look too much like your mother not t

The Greeks were the first people in the world to play, and they played on a great scale. All over Greece there were games, all sorts of games; athletic contests of every description: races—horse-, boat-, foot-, torch-races; contests in music, where one side out-sung the other; in dancing—on greased skins sometimes to display a nice skill of foot and balance of body; games where men leaped in and out of flying chariots; games so many one grows weary with the list of them. They are embodied in the statues familiar to all, the disc thrower, the charioteer, the wrestling boys, the dancing flute players. The great games—there were four that came at stated seasons—were so important, when one was held, a truce of God was proclaimed so that all Greece might come in safety without fear. There “glorious-limbed youth”—the phrase is Pindar’s, the athlete’s poet—strove for an honor so coveted as hardly anything else in Greece. An Olympic victor—triumphing generals would give place to him. His crown of wild olives was set beside the prize of the tragedian. Splendor attended him, processions, sacrifices, banquets, songs the greatest poets were glad to write. Thucydides, the brief, the severe, the historian of that bitter time, the fall of Athens, pauses, when one of his personages has conquered in the games, to give the fact full place of honor. If we had no other knowledge of what the Greeks were like, if nothing were left of Greek art and literature, the fact that they were in love with play and played magnificently would be proof enough of how they lived and how they looked at life. Wretched people, toiling people, do not play. Nothing like the Greek games is conceivable in Egypt or Mesopotamia. The life of the Egyptian lies spread out in the mural paintings down to the minutest detail. If fun and sport had played any real part they would be there in some form for us to see. But the Egyptian did not play. “Solon, Solon, you Greeks are all children,” said the Egyptian priest to the great Athenian.

Our minds thus grow in spots; and like grease-spots, the spots spread. But we let them spread as little as possible: we keep unaltered as much of our old knowledge, as many of our old prejudices and belief, as we can. We patch and tinker more than we renew. The novelty soaks in; it stains the ancient mass; but it is also tinged by what absorbs it. Our past apperceives and co-operates; and in the new equilibrium in which each step forward in the process of learning terminates, it happens relatively seldom that the new fact is added raw. More usually it is embedded cooked, as one might say, or stewed down in the sauce of the old. New truths thus are resultants of new experiences and of old truths combined and mutually modifying one another. And since this is the case in the changes opinion of to-day, there is no reason to assume that it has not been so at all times. It follows that very ancient modes of thought may have survived through all the later changes in men's opinions. The most primitive ways of thinking may not yet be wholly expunged. Like our five fingers, our ear-bones, our rudimentary caudal appendage, or our other 'vestigial' peculiarities, they may remain as indelible tokens of events in our race-history. Our ancestors may at certain moments have struck into ways of thinking which they might conceivably not have found. But once they did so, and after the fact, the inheritance continues. When you begin a piece of music in a certain key, you must keep the key to the end. You may alter your house ad libitum, but the ground-plan of the first architect persists - you can make great changes, but you cannot change a Gothic church into a Doric temple. You may rinse and rinse the bottle, but you can't get the taste of the medicine or whiskey that first filled it wholly out. My thesis now is this, that our fundamental ways of thinking about things are discoveries of exceedingly remote ancestors, which have been able to preserve themselves throughout the experience of all subsequent time. They form one great stage of equilibrium in the human mind's development, the stage of common sense. Other stages have grafted themselves upon this stage, but have never succeeded in displacing it.

Many of the first generation of Psychobillies were often ignorant about the history of Rockabilly and gained their love of Rock’n’Roll not from lovingly collecting twenty-five year old 45’s tracked down in dusty American record stores but by watching ‘Grease’ and ‘Happy Days’ alongside seeing Matchbox and The Stray Cats on ‘Top Of The Pops’. This was a generation weaned on ‘The Wanderers’, ‘Lemon Popsicle’ and stacks of low-rent TV advertised Rock’n’Roll albums.... They may not have known who [1950s rockabilly-country singer] Narvel Felts and [1950s rockabilly artist] ‘Groovey’ Joe Poovey were but they sure as hell had heard of Darts and Showaddywaddy and they undoubtedly knew “who put the bomp in the bompshoobompshoobomp” never mind the fucking ramalamadingdong.

I wanted to make it your fantasy high school. Whatever your feelings were about going to school - and most people were not happy in high school - I wanted to make everyone feel this is the school they wish they had gone to.

We wanted to give the Go West singer an image for “We Close Our Eyes.” He had a great voice, great presence, but terrible teeth. We said, “You have to get your teeth fixed.” We were brutal. We thought this was the sort of thing despot directors did. He fixed his teeth, we styled him, gave him a grease-monkey look, and it helped enormously.

DESPITE COUNTLESS PERFORMANCES AT THE West Liverpool Community Theatre, Mother had never received an ovation quite as enthusiastic as the one he got at the FARM when he performed a medley of songs from the musical Grease.

Every living thing is spoiled beyond our ability to imagine. Some children are spoiled materially, but every one alive today was born into inherited wealth. We inherited thousand of words, facial ex, handgestures and other creative abilities to express ourselves, to transfer the contents of our minds through music, art and science. The structures which enables us (with otherwise quite primitive tendencies) to coexist peacefully, in productive ways. All the progress, all the grease, all of it. We inherited the lives and tales of our ancestors as written in our DNA, every difficulty and every pleasure, their biological ADAPTIONS for the assistance of survival in our local enviroments, and the ability to dynamically develop our own. Every fiber in our bodies, every connection, all of it. We inherited our birthplace, our neighbours, our country, our Earth, our Moon, our orbit, our Sun, our Milkyway, ∆ (and all the contents within each). Tabula rasa is therefor a flawed concept, nothing is truly blank, but how could it ever be easy for those with such short lives to truly grasp or summarize their long journey within an everliving species?

eggs and curried chicken salad and double fudge brownies. That was all she was good at: eating. In the summer the Castles, the Alistairs, and the Randolphs all went to the beach together. When they were younger, they would play flashlight tag, light a bonfire, and sing Beatles songs, with Mr. Randolph playing the guitar and Penny’s voice floating above everyone else’s. But at some point Demeter had stopped feeling comfortable in a bathing suit. She wore shorts and oversized T-shirts to the beach, and she wouldn’t go in the water, wouldn’t walk with Penny to look for shells, wouldn’t throw the Frisbee with Hobby and Jake. The other three kids always tried to include Demeter, which was more humiliating, somehow, than if they’d just ignored her. They were earnest in their pursuit of her attention, but Demeter suspected this was their parents’ doing. Mr. Randolph might have offered Jake a twenty-dollar bribe to be nice to Demeter because Al Castle was an old friend. Hobby and Penny were nice to her because they felt sorry for her. Or maybe Hobby and Penny and Jake all had a bet going about who would be the one to break through Demeter’s Teflon shield. She was a game to them. In the fall there were football parties at the Alistairs’ house, during which the adults and Hobby and Jake watched the Patriots, Penny listened to music on her headphones, and Demeter dug into Zoe Alistair’s white chicken chili and topped it with a double spoonful of sour cream. In the winter there were weekends at Stowe. Al and Lynne Castle owned a condo near the mountain, and Demeter had learned to ski as a child. According to her parents, she used to careen down the black-diamond trails without a moment’s hesitation. But by the time they went to Vermont with the Alistairs and the Randolphs, Demeter refused to get on skis at all. She sat in the lodge and drank hot chocolate until the rest of the gang came clomping in after their runs, rosy-cheeked and winded. And then the ski weekends, at least, had stopped happening, because Hobby had basketball and Penny and Jake were in the school musical, which meant rehearsals night and day. Demeter thought back to all those springs, summers, falls, and winters with Hobby and Penny and Jake, and she wondered how her parents could have put her through such exquisite torture. Hobby and Penny and Jake were all exceptional children, while Demeter was seventy pounds overweight, which sank her self-esteem, which led to her getting mediocre grades when she was smart enough for A’s and killed her chances of landing the part of Rizzo in Grease, even though she was a gifted actress. Hobby was in a coma. Her mother was on the phone. She kept

Charlie just shook his head at me, like I didn't have enough brains to grease a skillet.

You’re strangely prepared.” “Not for this, no. I just heard condoms were really good for opening a stuck jar. You just pop it on top and instant hand grip. That’s the only reason I’ve been carrying one around.” “You… often come across bottles you can’t open?” “Far too much. And the lube was for greasing up… stuff, obviously. I didn’t at all plan to have you take me to an amusement park and fuck me in the car or something weird,” I say as I tear open the packet of lube. After I squirt some onto my hand, he takes it from me. “I’m surprised you weren’t planning for something R-rated on the carousel or something after dark.” “Ooh, that’s a good one. Especially with that music they play, it’d be the best sex jam ever.” “Would it?” he asks suspiciously. “Of course,” I say, unable to keep the grin off my face. “If I had my phone, I’d play it and you could fuck me to the beat.” “I don’t think carousel songs have a ‘fucking beat,’ but I could be wrong.

There is a scene in the movie The Assassination of Jesse James by the Coward Robert Ford. At the beginning, in the woods, Robert Ford, played by Casey Affleck, illustrates this phenomenon. He thinks the outlaw Jesse James is a great man. He thinks that he, himself, is a great man, too. He wants someone to recognize that in him. He wants someone to give him an opportunity—a project through which he can prove his worth. It just happens that Frank James would size the delusional, awkward boy up in the woods outside Blue Cut, Missouri: “You don’t have the ingredients, son.” In contrast, Mr. A is ambitious, but it’s paired with self-confidence, social adeptness, and a clear sense of what Thiel wanted. Even so, the prospect of meeting with Thiel is intimidating: his stomach churning, every nerve and synapse alive and flowing. He’s twenty-six years old. He’s sitting down for a one-on-one evening with a man worth, by 2011, some $ 1.5 billion and who owns a significant chunk of the biggest social network in the world, on whose board of directors he also sits. Even if Thiel were just an ordinary investor, dinner with him would make anyone nervous. One quickly finds that he is a man notoriously averse to small talk, or what a friend once deemed “casual bar talk.” Even the most perfunctory comment to Thiel can elicit long, deep pauses of consideration in response—so long you wonder if you’ve said something monumentally stupid. The tiny assumptions that grease the wheels of conversation find no quarter with Thiel. There is no chatting with Peter about the weather or about politics in general. It’s got to be, “I’ve been studying opening moves in chess, and I think king’s pawn might be the best one.” Or, “What do you think of the bubble in higher education?” And then you have to be prepared to talk about it at the expert level for hours on end. You can’t talk about television or music or pop culture because the person you’re sitting across from doesn’t care about these things and he couldn’t pretend to be familiar with them if he wanted to.

Whatever music you were into, it was exploding in the Nineties. Guitar bands, hip-hop, R&B, techno, country, Britpop, trip-hop, blip-hop, ambient, illbient, jungle, ska, swing, Belgian jam bands, Welsh gangsta rap—every music genre you could name (or couldn’t)—(and a few that probably didn’t really exist) was on a roll that made the Sixties look picayune and provincial. We can argue all day whether Nineties music holds up, but fans devoured—and paid for—more music than ever before or since. The average citizen purchased CDs in numbers that look shocking now, and even shocking then. Every week, thousands of people bought new copies of the Grease soundtrack, from 1978, and nobody knew why. Even critics had trouble finding things to complain about (though we sure tried).

West Bank can look like a set from Grease, the Musical: young men with slick black hair, wearing skinny jeans and tight sweaters, looking as cool as they do dangerous.