howdy meat twigs,
Milos's out in the alley, screaming that Metamorphose song at the top of his puny lungs and throwing billiard balls at low-flying planes, so let me entertain you with another effervescent anecdote from my long, fabulous career.
But first! I want to post this link for The Limper -- see, Milos fucked his fragile footsie up a while back and since he's nearly destitute, he hasn't gone to the human veterinarian to get it fixed, so I [and I alone] call him The Limper -- anyway, please imagine my awesome frame astride home plate of an athletic stadium, pointing to the far right bleachers since the alley behind them is where Milos's at. [You can occasionally see a pool ball coming up over the stadium wall, and even this far away, you can hear him screaming that stupid theme song over the feeble "roar" of the stadium's crowd. Anyhoozle, this one's for you, Champ:
Pan-ter's Rozz TOX man-eh-fest TOE!
Pan-ter's Rozz TOX man-eh-fest TOE!
Pan-ter's Rozz TOX man-eh-fest TOE!I like that Gary Panter mammal, and that manifesto of his is like the Little Black Dress of DiY pop aesthetics; it never ever ever goes out of style. I don't like to throw the word "brilliant" around, except for when the press asks me about someone who has the same publicist or agent as I do and stuff like that, but Panter really is brilliant. Someone told me I'm a big influence on his work, which, of course, is a HUGE compliment -- and I'm absolutely stoked to hear that his next book, JIMBO IN PURGATORY, will be extra-large for my benefit! Hoo boy, I can't wait to get my copies of that and Artie Spiegelman's also-thin-and-really tall book IN THE SHADOW OF NO TOWERS and then pitch them in battle against the short-and-superthick anthology duo of Sammy Harkham's KRAMERS ERGOT 5 and Chris Ware's MCSWEENEYS 13! It's sure to be the artcomics battle of the century!!!!! And then, when they're done fighting, they can be friends! Ha! I can't wait until I can make a little fort from them -- ideally the low-and-long fort, where KRAMERS and MCSWEENEYS hold up the "roof" of TOWERS and JIMBO, than the short-and-tall fort! That's gonna be so NEAT!!!!!!!! Hee hee hee!
Anyway, the faint but incessant sound of Milos' shrieking that theme song got me thinking about one of my most amusing musical-theater adventures; this was 1980, and I was co-producing and directing a production of GREASE. It felt genuinely good to be working "behind the scenes" for a change -- although it was quite challenging work, since this was an open-air production in the round. Very difficult for me to find scenes to be completely behind! I would have loved to have stayed far far offstage until the night's curtain call -- the project was a labor of love and a laboratory for artistic experimentation, not an excerise in ego-stroking or a crass grab for cash -- but the money men wouldn't fully back the show unless I acted in it too. OK, fine, whatever. Everyone wanted me to play Danny Zuko, but I wanted to play Sonny LaTieri. Yes, Sonny. Here's the closest thing to
a picture of the human who played him in the movie [his face is mostly behind John Travolta's hand] if the name doesn't ring a bell.
I thought the role was the richest, most fascinating of the cast; each of the T-Birds have a natural analogue in the Pink Ladies with which to trade banter, dance and mate with -- but Sonny remained alone, as Marty Maraschino only had eyes for Vince Fontaine, the Scorpion leader and almost anyone other than Sonny. There are all sorts of fascinating nooks and crannies to explore with the character: When Sonny offers the whitebread Kenickie a bite of his salami -- simultaneously an attempt to bridge the cultural and ethnic gap between pudgy Italiana and chisel-cheeked WASPery as well as a clumsy homosexual come-on born of Sonny's deep, intractable sexual confusion stemming from Marty's paradigm-shifting rejection of him as a temporary mate/companion -- Kenickie rejects both Sonny's race and his phallus with a faintly racist bon mot about Sonny's poor hygiene.
While the other T-birds drank, ate and partied together, Sonny is alone among them. At the dance, Sonny comes alone, armed with a gift for Marty, who's clearly just tagging along with the Scorpions leader [and I don't mean Michael Schenker!] and Rizzo. Sonny's wooing of Marty is quickly rebuffed when she sees the bland TV honkey Fontaine and leaves Sonny alone ... again. Our hero is next seen defiantly striding across the dance floor and pulling long swigs from a hip flask during the "Hand Jive" segment, again emphasizing the isolation, sexual hysteria ["hand jive," indeed] and substance abuse that drive this noble buffoon. He spikes the punch with his hooch, and when an authority figure demands to know what he's doing, Sonny tells him "Just washing my hands." That's right -- WASHING HIS HANDS OF THE BANKRUPT HYPOCRISY HE'S DROWNING IN! It's at this point that he stops "playing the '50s game" of teen society and mating rituals. When Doody and Putzie decide to flash their bare asses to the NATIONAL BANDSTAND camera during Danny and Cha Cha's spotlight dance, they have to drag a drunken, defeated Sonny to do the deed, reducing the once proud young man to merely a "blue moon."
I could go on and on about why he's the best character in the cast for an actor looking for a real artistic workout. Also, Sonny didn't have to sing and dance as much as the others, which was a big plus for me and the windows of surrounding buildings for miles in every direction. Anyway, the Mr. Moneybags said "No, we want you to be Danny." I said "No, I want to play Sonny and if you ask me to play Danny again I'll smash you flat right here and now." They said "How about you play Coach Calhoun and we'll give you three percent of the gross." So I played the Coach instead, which I really regret since I can play the Coach now but I don't think the crowd would believe me as Sonny at this point. Shoulda taken the road less traveled. Fiddlesticks.
Yours Truly,
Gojira Kijou