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The fact that Doody plays the guitar is very significant. The guitar was symbol of rock and roll, and by extension, of teenage rebellion. An electric guitar was a (just watch how rock Chuck Berry physically used his guitar). The guitar represented freedom, teen culture, emotion, romance, angst – and quite often, The guitar instilled ! That also explains Johnny Casino and the Gamblers in ’s prom scene – boy wanted to be a rock and roll star. 1959 was a pivotal moment for rock and roll. Up to that time, rock and roll addressed teen angst and misfired romance; but once the sixties arrived, rock songs would tackle war, injustice, sexual oppression, drugs, hypocrisy and authority, religion, and politics. The songs in straddle those two worlds, posing as the simpler songs of the fifties while subtextually delivering potent social commentary and satire.
"It’s Raining on Prom Night" is a Connie Francis number, combining attributes from several of her "weeper" songs, including "Frankie" (with a spoken section), "Valentino," "Carolina Moon," and "Happy Days and Lonely Nights," among others. The Latin beat recalls her fondness for recording Italian language ballads like the hit "Mama," and "Frankie" even contains the idea of hiding tears, that later shows up in "Worse Things I Could Do." It also has echoes of The Diamonds’ "Little Darlin’," with its Latin beat and one spoken verse. According to some sources, this was the first song Jacobs and Casey wrote, even before they had conceived the show, satirically putting the trivial and mundane at the center of a big, emotional lament. Far more than any other song in the score, this is parody more than tribute or invocation.
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In the book , author Tim Riley writes, "The boomers born after World War II, both men and women" – the characters in were all born around 1942 – "learned much of what they know about how to be young, how to seek and earn love, and how to struggle toward adulthood from the popular music they listened to." As it would be for decades to come, rock music was more of an authority figure than any adult could ever be. "Rock stars helped their young fans grow from boys to men and girls to women," Riley writes, "by exploring and celebrating the nature of that struggle – the full range of sexual bewilderment, frustration, and longing." chronicles exactly that phenomenon. The kids in may well have seen their rock heroes in person, since DJs like Alan Freed (a likely inspiration for Vince Fontaine) frequently hosted live rock and roll concerts in Cleveland, Chicago and elsewhere. Howard Miller, known as "Uncle Moo Moo," was the number one morning DJ in Chicago from 1947-1968, on WIND, where the kids would no doubt listen to him every morning before school. In 1957, Miller produced the first live rock show in Chicago, featuring Tab Hunter, Charlie Gracie, Chuck Berry, Eddie Cochran, and the Everly Brothers. That same year Alan Freed got his own TV show, and it was such a success, the next month ABC picked up Dick Clark’s as well.
That’s how James Petersen’s book describes 1950s America and the false, repressed world from which Sandy must escape. There were three distinct cultures in America during the 1950s – mainstream middle-America, New York City (including the Beat writers), and teenagers – and they rarely intersected each other, so none of them spoke the others’ languages or shared their morality. Most of mainstream adult America lived a life of complete ignorance, happily watching safely artificial television sitcoms and carefully censored studio films, having little or no idea what was going on in teen America, in teen music, movies, magazines, social life, and most significantly, teen sexuality.
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first opened in Chicago, where its story is set, in 1971. To a large extent, the 1970s marked the end of the Rodgers and Hammerstein revolution. It was the decade that gave permanent berth to both the concept musical and the rock musical, both explored during the sixties but now taking their rightful place in mainstream musical theatre. These were shows that rejected the sunny optimism of earlier decades and instead revealed the feelings of rage and loss that pervaded America in this era of Vietnam and Watergate. The concept musical had been germinating since Marc Blitzstein’s very political, very angry in 1937, but it wasn’t until Stephen Sondheim and Hal Prince’s in 1970 that the concept musical was in a position to change everything. The rock musical had been born with in 1958 and became mainstream with in 1968, but it became a fixture on Broadway during the seventies, partly because the definition of was so pliable, so inclusive by then. A rock musical could be , ornone of which sounded anything like the others; and yet they all shared a disdain for authority, a taste for rebellion, and a sexual frankness to which only the language of rock and roll could give full voice.
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The story of is set during the 1958-59 school year, at exactly the same time that America was facing the preliminary rumblings of the Sexual Revolution that would arrive in the mid-1960s and blossom in the 70s, only to be ended by AIDS in the early 80s. And like did later, shows us how America reacted to this tumultuous time though two of its main characters. Danny Zuko (along with Rizzo and Kenickie) represents that segment of American teens already sexually active in the 1940s and 50s, who ultimately frees the conforming Sandy to express her sexuality without fear or shame, leading her into a new life and a new decade of sexual freedom – a theme also at the heart, though far more cautiously, of the 1959 film , starring Sandra Dee and Troy Donahue. Sandy Dumbrowski (notice how ethnic all the character names are, to suggest that they are working class) is mainstream America, reluctant to throw off the sexual repression of the conforming 1950s for the sexual adventuring of the 1960s. is the story of –and the story of America – the way sex was changing and the part rock and roll and cars and drive-ins played in that transformation. In the movie, the central love story may be the point, but on stage the romance is just a device for making a larger, more interesting point. isn’t about Danny and Sandy (which is why fifteen of the show’s twenty songs have nothing to do with them); is about how rock and roll changed sex in America. And those who criticize for its "immoral" ending don’t understand what this show is really about – and they really haven’t paid attention to the lyric of "All Choked Up."
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