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E. E. Cummings
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E. E. Cummings
E. E. Cummings in 1953
Born
Edward Estlin Cummings
(1894-10-14)October 14, 1894
Cambridge, Massachusetts, U.S.
Died
September 3, 1962(1962-09-03) (aged 67)
Madison, New Hampshire, U.S.
Cause of death
Stroke
Occupation
Author
Signature
Edward Estlin "E. E." Cummings (October 14, 1894 – September 3, 1962), often styled as e e cummings, as he sometimes signed his name, was an American poet, painter, essayist, author, and playwright. He wrote approximately 2900 poems, two autobiographical novels, four plays, and several essays.
Contents
[hide]
1 Life
1.1 Early years
1.2 War years
1.3 Post-war years
1.4 Final years
2 Personal life
2.1 Marriages
2.2 Political views
3 Work
3.1 Poetry
3.2 Controversy
3.3 Plays
3.4 Name and capitalization
4 Adaptations
5 Awards
6 Books
7 See also
8 Notes
9 References
10 External links
Life[edit]
i thank You God for most this amazing
day:for the leaping greenly spirits of trees
and a blue true dream of sky; and for everything
which is natural which is infinite which is yes
From "i thank You God for most this amazing" (1950)
Early years[edit]
Edward Estlin Cummings was born on October 14, 1894, in Cambridge, Massachusetts to Edward Cummings and the former Rebecca Haswell Clarke, a well-known Unitarian couple in the city. His father was a professor at Harvard University and later became nationally known as the minister of South Congregational Church in Boston, Massachusetts.[1] His mother, who loved to spend time with her children, played games with Cummings and his sister, Elizabeth. From an early age, Cummings's parents supported his creative gifts.[2] Cummings wrote poems and also drew as a child, and he often played outdoors with the many other children who lived in his neighborhood. He grew up in the company of such family friends as the philosophers William James and Josiah Royce. Many of Cummings' summers were spent on Silver Lake in Madison, New Hampshire, where his father had built two houses along the eastern shore. The family ultimately purchased the nearby Joy Farm where Cummings had his primary summer residence.[3]
He expressed transcendental leanings his entire life. As he matured, Cummings moved to an "I, Thou" relationship with God. His journals are replete with references to "le bon Dieu," as well as prayers for inspiration in his poetry and artwork (such as "Bon Dieu! may I some day do something truly great. amen."). Cummings "also prayed for strength to be his essential self ('may I be I is the only prayer—not may I be great or good or beautiful or wise or strong'), and for relief of spirit in times of depression ('almighty God! I thank thee for my soul; & may I never die spiritually into a mere mind through disease of loneliness')."[4]
Cummings wanted to be a poet from childhood and wrote poetry daily from age 8 to 22, exploring assorted forms.He graduated from Harvard University in 1915 and received an advanced degree from the university in 1916.[5] In his studies at Harvard, he developed an interest in modern poetry, which ignored conventional grammar and syntax, while aiming for a dynamic use of language. Upon graduating, he worked for a book dealer.[6]
Masthead from volume 56 of The Harvard Monthly; Cummings was an editor and contributor to this literary journal while at Harvard
War years[edit]
In 1917, with the First World War ongoing in Europe, Cummings enlisted in the Norton-Harjes Ambulance Corps, along with his college friend John Dos Passos. Due to an administrative mix-up, Cummings was not assigned to an ambulance unit for five weeks, during which time he stayed in Paris. He fell in love with the city, to which he would return throughout his life.[7]
During their service in the ambulance corps, the two young writers sent letters home that drew the attention of the military censors. They were known to prefer the company of French soldiers over fellow ambulance drivers. The two openly expressed anti-war views; Cummings spoke of his lack of hatred for the Germans.[8] On September 21, 1917, five months after starting his belated assignment, Cummings and a friend, William Slater Brown, were arrested by the French military on suspicion of espionage and undesirable activities. They were held for 3½ months in a military detention camp at the Dépôt de Triage, in La Ferté-Macé, Orne, Normandy.[7]
They were imprisoned with other detainees in a large room. Cummings' father failed to obtain his son's release through diplomatic channels, and in December 1917 he wrote a letter to President Wilson. Cummings was released on December 19, 1917, and Brown was released two months later. Cummings used his prison experience as the basis for his novel, The Enormous Room (1922), about which F. Scott Fitzgerald said, "Of all the work by young men who have sprung up since 1920 one book survives—The Enormous Room by e e cummings... Those few who cause books to live have not been able to endure the thought of its mortality."[9]
Cummings returned to the United States on New Year's Day 1918. Later in 1918 he was drafted into the army. He served in the 12th Division at Camp Devens, Massachusetts, until November 1918.[10][11]
Buffalo Bill's
defunct
who used to
ride a watersmooth-silver
stallion
and break onetwothreefourfive pigeonsjustlikethat
Jesus
he was a handsome man
and what i want to know is
how do you like your blueeyed boy
Mister Death
From "Buffalo Bill's" (1920)
Post-war years[edit]
Cummings returned to Paris in 1921 and lived there for two years before returning to New York. His collection Tulips and Chimneys was published in 1923 and his inventive use of grammar and syntax is evident. The book was heavily cut by his editor. XLI Poems was published in 1925. With these collections, Cummings made his reputation as an avant garde poet.[6]
During the rest of the 1920s and 1930s, Cummings returned to Paris a number of times, and traveled throughout Europe, meeting, among others, artist Pablo Picasso. In 1931 Cummings traveled to the Soviet Union, recounting his experiences in Eimi, published two years later. During these years Cummings also traveled to Northern Africa and Mexico. He worked as an essayist and portrait artist for Vanity Fair magazine (1924–1927).
In 1926, Cummings's parents were in a car accident; only his mother survived, although she was severely injured. Cummings later described the accident in the following passage from his i: six nonlectures series given at Harvard (as part of the Charles Eliot Norton Lectures) in 1952 and 1953:
A locomotive cut the car in half, killing my father instantly. When two brakemen jumped from the halted train, they saw a woman standing – dazed but erect – beside a mangled machine; with blood spouting (as the older said to me) out of her head. One of her hands (the younger added) kept feeling her dress, as if trying to discover why it was wet. These men took my sixty-six year old mother by the arms and tried to lead her toward a nearby farmhouse; but she threw them off, strode straight to my father's body, and directed a group of scared spectators to cover him. When this had been done (and only then) she let them lead her away.
His father's death had a profound effect on Cummings, who entered a new period in his artistic life. He began to focus on more important aspects of life in his poetry. He started this new period by paying homage to his father in the poem "my father moved through dooms of love".[12][13]
In the 1930s Samuel Aiwaz Jacobs was Cummings' publisher; he had started the Golden Eagle Press after working as a typographer and publisher.
Final years[edit]
Grave of E. E. Cummings
In 1952, his alma mater, Harvard University, awarded Cummings an honorary seat as a guest professor. The Charles Eliot Norton Lectures he gave in 1952 and 1955 were later collected as i: six nonlectures.
Cummings spent the last decade of his life traveling, fulfilling speaking engagements, and spending time at his summer home, Joy Farm, in Silver Lake, New Hampshire. He died of a stroke on September 3, 1962, at the age of 67 in North Conway, New Hampshire at the Memorial Hospital.[14]
Cummings's papers are held at the Houghton Library at Harvard University and the Harry Ransom Center at the University of Texas at Austin.[7]
Personal life[edit]
Marriages[edit]
Sketched self-portrait circa 1920
Cummings was married briefly twice, first to Elaine Orr, then to Anne Minnerly Barton. His longest relationship lasted more than three decades, a common-law marriage to Marion Morehouse.
Cummings's first marriage, to Elaine Orr, began as a love affair in 1918 while she was still married to Scofield Thayer, one of Cummings's friends from Harvard. During this time he wrote a good deal of his erotic poetry.[15] After divorcing Thayer, Elaine married Cummings on March 19, 1924. The couple had a daughter together out of wedlock. However, the couple separated after two months of marriage and divorced less than nine months later.
Cummings married his second wife Anne Minnerly Barton on May 1, 1929, and they separated three years later in 1932. That same year, Anne obtained a Mexican divorce; it was not officially recognized in the United States until August 1934. Anne died in 1970 aged 72.
In 1934, after his separation from his second wife, Cummings met Marion Morehouse, a fashion model and photographer. Although it is not clear whether the two were ever formally married, Morehouse lived with Cummings in a common-law marriage until his death in 1962. She died on May 18, 1969,[16] while living at 4 Patchin Place, Greenwich Village, New York City, where Cummings had resided since September 1924.[17]
Political views[edit]
According to his testimony in EIMI, Cummings had little interest in politics until his trip to the Soviet Union in 1931,[18] after which he shifted rightward on many political and social issues.[19] Despite his radical and bohemian public image, he was a Republican, and later, an ardent supporter of Joseph McCarthy.[20]
Work[edit]
Poetry[edit]
Despite Cummings's familiarity with avant-garde styles (undoubtedly affected by the Calligrammes of French poet Apollinaire, according to a contemporary observation[21]), much of his work is quite traditional. Many of his poems are sonnets, albeit often with a modern twist. He occasionally used the blues form and acrostics. Cummings' poetry often deals with themes of love and nature, as well as the relationship of the individual to the masses and to the world. His poems are also often rife with satire.
While his poetic forms and themes share an affinity with the Romantic tradition, Cummings' work universally shows a particular idiosyncrasy of syntax, or way of arranging individual words into larger phrases and sentences. Many of his most striking poems do not involve any typographical or punctuation innovations at all, but purely syntactic ones.
i carry your heart with me(i carry it in
my heart)i am never without it(anywhere
i go you go,my dear;and whatever is done
by only me is your doing,my darling)
i fear
no fate(for you are my fate,my sweet)i want
no world(for beautiful you are my world,my true)
and it's you are whatever a moon has always meant
and whatever a sun will always sing is you
From "i carry your heart with me(i carry it in" (1952)[22]
As well as being influenced by notable modernists, including Gertrude Stein and Ezra Pound, Cummings in his early work drew upon the imagist experiments of Amy Lowell. Later, his visits to Paris exposed him to Dada and surrealism, which he reflected in his work. He began to rely on symbolism and allegory, where he once had used simile and metaphor. In his later work, he rarely used comparisons that required objects that were not previously mentioned in the poem, choosing to use a symbol instead. Due to this, his later poetry is "frequently more lucid, more moving, and more profound than his earlier."[23] Cummings also liked to incorporate imagery of nature and death into much of his poetry.
While some of his poetry is free verse (with no concern for rhyme or meter), many have a recognizable sonnet structure of 14 lines, with an intricate rhyme scheme. A number of his poems feature a typographically exuberant style, with words, parts of words, or punctuation symbols scattered across the page, often making little sense until read aloud, at which point the meaning and emotion become clear. Cummings, who was also a painter, understood the importance of presentation, and used typography to "paint a picture" with some of his poems.[24]
The seeds of Cummings' unconventional style appear well established even in his earliest work. At age six, he wrote to his father:
FATHER DEAR. BE, YOUR FATHER-GOOD AND GOOD,
HE IS GOOD NOW, IT IS NOT GOOD TO SEE IT RAIN,
FATHER DEAR IS, IT, DEAR, NO FATHER DEAR,
LOVE, YOU DEAR,
ESTLIN.[25]
Following his autobiographical novel, The Enormous Room, Cummings' first published work was a collection of poems titled Tulips and Chimneys (1923). This work was the public's first encounter with his characteristic eccentric use of grammar and punctuation.
Some of Cummings' most famous poems do not involve much, if any, odd typography or punctuation, but still carry his unmistakable style, particularly in unusual and impressionistic word order.
anyone lived in a pretty how town
(with up so floating many bells down)
spring summer autumn winter
he sang his didn't he danced his did
Women and men (both little and small)
cared for anyone not at all
they sowed their isn't they reaped their same
sun moon stars rain
From "anyone lived in a pretty how town" (1940)[26]
Cummings' work often does not proceed in accordance with the conventional combinatorial rules that generate typical English sentences (for example, "they sowed their isn't"). In addition, a number of Cummings' poems feature, in part or in whole, intentional misspellings, and several incorporate phonetic spellings intended to represent particular dialects. Cummings also made use of inventive formations of compound words, as in "in Just"[27] which features words such as "mud-luscious", "puddle-wonderful", and "eddieandbill." This poem is part of a sequence of poems titled Chansons Innocentes;[28] it has many references comparing the "balloonman" to Pan, the mythical creature that is half-goat and half-man. Literary critic R.P. Blackmur has commented that this use of language is “frequently unintelligible because he [Cummings] disregards the historical accumulation of meaning in words in favour of merely private and personal associations.”[29]
Many of Cummings' poems are satirical and address social issues[30] but have an equal or even stronger bias toward romanticism: time and again his poems celebrate love, sex, and the season of rebirth.[31]
Cummings also wrote children's books and novels. A notable example of his versatility is an introduction he wrote for a collection of the comic strip Krazy Kat.
Controversy[edit]
Cummings is known for controversial subject matter, as he wrote numerous erotic poems.
He also sometimes included ethnic slurs in his writing. For instance, in his 1950 collection Xaipe: Seventy-One Poems, Cummings published two poems containing words that caused outrage in some quarters.[32]
one day a nigger
caught in his hand
a little star no bigger
than not to understand
"i'll never let you go
until you've made me white"
so she did and now
stars shine at night.[33]
and
a kike is the most dangerous
machine as yet invented
by even yankee ingenu
ity(out of a jew a few
dead dollars and some twisted laws)
it comes both prigged and canted[33]
Cummings biographer Catherine Reef notes of the controversy:
Friends begged Cummings to reconsider publishing these poems, and the book's editor pleaded with him to withdraw them, but he insisted that they stay. All the fuss perplexed him. The poems were commenting on prejudice, he pointed out, and not condoning it. He intended to show how derogatory words cause people to see others in terms of stereotypes rather than as individuals. "America (which turns Hungarian into 'hunky' & Irishman into 'mick' and Norwegian into 'square- head') is to blame for 'kike,'" he said.[34]
William Carlos Williams spoke out in his defense.[34]
Plays[edit]
During his lifetime, Cummings published four plays. HIM, a three-act play, was first produced in 1928 by the Provincetown Players in New York City. The production was directed by James Light. The play's main characters are "Him", a playwright, and "Me", his girlfriend.
Cummings said of the unorthodox play:
Relax and give the play a chance to strut its stuff—relax, stop wondering what it is all 'about'—like many strange and familiar things, Life included, this play isn't 'about,' it simply is. . . . Don't try to enjoy it, let it try to enjoy you. DON'T TRY TO UNDERSTAND IT, LET IT TRY TO UNDERSTAND YOU."[35]
Anthropos, or the Future of Art is a short, one-act play that Cummings contributed to the anthology Whither, Whither or After Sex, What? A Symposium to End Symposium. The play consists of dialogue between Man, the main character, and three "infrahumans", or inferior beings. The word anthropos is the Greek word for "man", in the sense of "mankind".
Tom, A Ballet is a ballet based on Uncle Tom's Cabin. The ballet is detailed in a "synopsis" as well as descriptions of four "episodes", which were published by Cummings in 1935. It has never been performed.[36]
Santa Claus: A Morality was probably Cummings's most successful play. It is an allegorical Christmas fantasy presented in one act of five scenes. The play was inspired by his daughter Nancy, with whom he was reunited in 1946. It was first published in the Harvard College magazine, Wake. The play's main characters are Santa Claus, his family (Woman and Child), Death, and Mob. At the outset of the play, Santa Claus's family has disintegrated due to their lust for knowledge (Science). After a series of events, however, Santa Claus's faith in love and his rejection of the materialism and disappointment he associates with Science are reaffirmed, and he is reunited with Woman and Child.
Name and capitalization[edit]
Cummings's publishers and others have often echoed the unconventional orthography in his poetry by writing his name in lowercase and without periods (full stops), but normal orthography for his name (uppercase and periods) is supported by scholarship and preferred by publishers today.[37] Cummings himself used both the lowercase and capitalized versions, though he most often signed his name with capitals.[37]
The use of lowercase for his initials was popularized in part by the title of some books, particularly in the 1960s, printing his name in lower case on the cover and spine. In the preface to E. E. Cummings: The Growth of a Writer by Norman Friedman, critic Harry T. Moore notes Cummings "had his name put legally into lower case, and in his later books the titles and his name were always in lower case."[38] According to Cummings's widow, however, this is incorrect.[37] She wrote to Friedman: "You should not have allowed H. Moore to make such a stupid & childish statement about Cummings & his signature." On February 27, 1951, Cummings wrote to his French translator D. Jon Grossman that he preferred the use of upper case for the particular edition they were working on.[39] One Cummings scholar believes that on the rare occasions that Cummings signed his name in all lowercase, he may have intended it as a gesture of humility, not as an indication that it was the preferred orthography for others to use.[37]
Adaptations[edit]
In 1943, modern dancer and choreographer Jean Erdman presented "The Transformations of Medusa, Forever and Sunsmell" with a commissioned score by John Cage and a spoken text from the title poem by E. E. Cummings, sponsored by the Arts Club of Chicago. Erdman also choreographed "Twenty Poems" (1960), a cycle of E. E. Cummings's poems for eight dancers and one actor, with a commissioned score by Teiji Ito. It was performed in the round at the Circle in the Square Theatre in Greenwich Village.
Numerous composers have set Cummings' poems to music:
In 1961, Pierre Boulez composed "Cummings ist der dichter" from poems by E.E. Cummings.[40]
Aribert Reimann set Cummings to music in "Impression IV" (1961) for soprano and piano.[41]
The Icelandic singer Björk used lines from Cummings's poem "I Will Wade Out" for the lyrics of "Sun In My Mouth" on her 2001 album Vespertine. On her next album, Medúlla (2004), Björk used his poem "It May Not Always Be So" as the lyrics for the song "Sonnets/Unrealities XI."
The American composer Eric Whitacre wrote a cycle of works for choir titled The City and the Sea, which consists of five poems by Cummings set to music.
Others who have composed settings for his poems include Dominic Argento, William Bergsma, Leonard Bernstein, Marc Blitzstein, John Cage, Romeo Cascarino, Aaron Copland, Serge de Gastyne, David Diamond, John Duke, Margaret Garwood, Daron Hagen, Michael Hedges, Richard Hundley, Barbara Kolb, Leonard Lehrman, Robert Manno, Salvatore Martirano, William Mayer, John Musto, Paul Nordoff, Tobias Picker, Vincent Persichetti, Ned Rorem, Peter Schickele, Elie Siegmeister, Aki Takase, Hugo Weisgall, Dan Welcher, and James Yannatos, among many others.[42]
Awards[edit]
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During his lifetime, Cummings received numerous awards in recognition of his work, including:
Dial Award (1925)
Guggenheim Fellowship (1933)
Shelley Memorial Award for Poetry (1944)
Harriet Monroe Prize from Poetry magazine (1950)
Fellowship of American Academy of Poets (1950)
Guggenheim Fellowship (1951)
Charles Eliot Norton Professorship at Harvard (1952–1953)
Special citation from the National Book Award Committee for his Poems, 1923–1954 (1957)
Bollingen Prize in Poetry (1958)
Boston Arts Festival Award (1957)
Two-year Ford Foundation grant of $15,000 (1959)
Books[edit]
the hours rise up on a wall in Leiden
The Enormous Room (1922)
Tulips and Chimneys (1923)
& (1925) (self-published)
XLI Poems (1925)
is 5 (1926)
HIM (1927) (a play)
ViVa (1931)
CIOPW (1931) (art works)
EIMI (1933) (Soviet travelogue)
No Thanks (1935)
Collected Poems (1938)
50 Poems (1940)
1 × 1 (1944)
Santa Claus: A Morality (1946)
XAIPE: Seventy-One Poems (1950)
i—six nonlectures (1953) Harvard University Press
Poems, 1923–1954 (1954)
95 Poems (1958)
73 Poems (1963) (posthumous)
Fairy Tales (1965)
Etcetera: The Unpublished Poems (1983)
Complete Poems, 1904–1962, edited by George James Firmage, Liveright 2008
See also[edit]
Biography portal
Poetry portal
Massachusetts portal
Notes[edit]
Jump up ^ Collins, Leo W. This is Our Church. Boston, Massachusetts: Society of the First Church in Boston, 2005: 104.
Jump up ^ "E. E. Cummings' Life". www.english.illinois.edu. Retrieved 2016-04-27.
Jump up ^ Sawyer-Lauçanno, Christopher (January 1, 2004). "E.E. Cummings: A Biography". Sourcebooks, Inc. – via Google Books.
Jump up ^ "E. E. Cummings: Poet And Painter". Archived from the original on September 2, 2006.
Jump up ^ "E. E. Cummings Biography – life, family, children, story, death, wife, mother, book, old, information, born". Notablebiographies.com. 1962-09-03. Retrieved 2015-12-24.
^ Jump up to: a b "E. E. Cummings". November 21, 2016.
^ Jump up to: a b c "E. E. Cummings: An Inventory of His Collection at the Harry Ransom Humanities Research Center". Harry Ransom Humanities Research Center. Retrieved May 9, 2010.
Jump up ^ Friedman, Norman "Cummings, E[dward] E[stlin]", in Steven Serafin, The Continuum Encyclopedia of American Literature, 2003, Continuum, p. 244.
Jump up ^ Bloom, p. 1814.
Jump up ^ Kennedy, p. 186.
Jump up ^ "Data on U.S. Army Divisions during World War I, WWI, The Great War".
Jump up ^ "My father moved through dooms of love". Archived from the original on March 15, 2005.
Jump up ^ Lane, Gary (1976). I Am: A Study of E. E. Cummings' Poems. Lawrence, Kansas: University Press of Kansas. pp. 41–43. ISBN 0-7006-0144-9.
Jump up ^ "Stylistic Liberty". New York Times. September 4, 1962.
Jump up ^ Selected Poems, Ed. Richard S. Kennedy, Liveright, 1994.
Jump up ^ Marion Morehouse Cummings, Poet's Widow, Top Model, Dies, The New York Times, May 19, 1969.
Jump up ^ Sawyer-Lauçanno, p. 255.
Jump up ^ Carla Blumenkranz, "The Enormous Poem: When E.E. Cummings Repunctuated Stalinism." Poetry Foundation. www.poetryfoundation.org/
Jump up ^ "Heath Anthology of American Literature E.E. cummings - Author Page".
Jump up ^ Wetzsteon, Ross. 'Republic of Dreams: Greenwich Village: The American Bohemia, 1910–1960', pp. 449 Google Books
Jump up ^ Taupin, Rene, The Influence of French Symbolism on Modern American Poetry 1927 (Trans. William Pratt), AMS Inc, New York 1985 ISBN 0404615791
Jump up ^ "i carry your heart with me(i carry it in" at the Poetry Foundation.
Jump up ^ Friedman, Norman. E. E. Cummings the Art of His Poetry. Baltimore: Johns Hopkins, 1967. p. 89.
Jump up ^ Landles, Iain (2001). "An Analysis of Two Poems by E. E. Cummings". SPRING, the Journal of the E. E. Cummings Society. 10: 31–43.
Jump up ^ Selected letters of E. E. Cummings, (1972) Edward Estlin Cummings, Frederick Wilcox Dupee, George Stade. University of Michigan p. 3 ISBN 978-0-233-95637-4
Jump up ^ "anyone lived in a pretty how town" at the Poetry Foundation
Jump up ^ "in Just".
Jump up ^ Chansons Innocentes
Jump up ^ Friedman, Norman. E. E. Cummings the Art of His Poetry. Baltimore: Johns Hopkins University Press, 1967. pp. 61–62.
Jump up ^ "why must itself up every of a park"
Jump up ^ "anyone lived in a pretty how town"
Jump up ^ Friedman, Norman, and Harry Thornton Moore. E. E. Cummings the Growth of a Writer. Carbondale: Southern Illinois UP, 1964. pp. 153–54.
^ Jump up to: a b Cummings, Xaipe, Seventy-one Poems. New York: Oxford UP, 1950.
^ Jump up to: a b E. Cummings (2006) by Catherine Reef, Houghton Mifflin Harcourt p. 115 ISBN 978-0-618-56849-9
Jump up ^ Kennedy, p. 295.
Jump up ^ GVSU.edu The E. E. Cummings Society Archived April 23, 2005, at the Wayback Machine..
^ Jump up to: a b c d Friedman, Norman (1992). "Not "e. e. cummings"". Spring. 1: 114–21. Retrieved December 13, 2005.
Jump up ^ Friedman, Norman (1964). E. E. Cummings: The Growth of a Writer. Carbondale: Southern Illinois University Press. ISBN 0-8093-0978-5.
Jump up ^ Friedman, Norman (1995). "Not "e. e. cummings" Revisited". Spring. 5: 41–43. Retrieved May 12, 2007.
Jump up ^ "cummings ist der dichter, Pierre Boulez".
Jump up ^ Reimann, Aribert; Cummings, E. E. (Edward Estlin). "Impression IV : nach einem Gedicht von E.E. Cummings : four Singstimme und Klavier (1961) / Aribert Reimann. music" – via National Library of Australia.
Jump up ^ "E.E. Cummings settings"[permanent dead link], RecMusic
References[edit]
Bloom, Harold, Twentieth-century American Literature, New York : Chelsea House Publishers, 1985–1988. ISBN 978-0-87754-802-7.
Cohen, Milton A. (1987). Poet and Painter: The Aesthetics of E. E. Cummings' Early Work. Wayne State University Press. ISBN 978-0-8143-1845-4.
Friedman, Norman (editor), E. E. Cummings: A Collection of Critical Essays. ISBN 978-0-9829733-0-1
Friedman, Norman, E. E. Cummings: The Art of his Poetry.
Galgano, Andrea, La furiosa ricerca di Edward E. Cummings, in Mosaico, Roma, Aracne, 2013, pp. 441–44 ISBN 978-88-548-6705-5
Heusser, Martin. I Am My Writing: The Poetry of E.E. Cummings. Tübingen: Stauffenburg, 1997.
Hutchinson, Hazel. The War That Used Up Words: American Writers and the First World War. New Haven, CT: Yale University Press, 2015.
James, George, E. E. Cummings: A Bibliography.
Kennedy, Richard S. (October 17, 1994) [1980]. Dreams in the Mirror (2nd ed.). New York: Liveright. ISBN 0-87140-155-X.
McBride, Katharine, A Concordance to the Complete Poems of E.E.Cummings.
Mott, Christopher. "The Cummings Line on Race", Spring: The Journal of the E. E. Cummings Society, vol. 4, pp. 71–75, Fall 1995.
Norman, Charles, E. E. Cummings: The Magic-Maker, Boston, Little Brown, 1972.
Sawyer-Lauçanno, Christopher, E. E. Cummings: A Biography, Sourcebooks, Inc. (2004) ISBN 978-1-57071-775-8.
External links[edit]
Find more aboutE. E. Cummingsat Wikipedia's sister projects
Media from Wikimedia Commons
Quotations from Wikiquote
Texts from Wikisource
Data from Wikidata
Bibliowiki has original media or text related to this article: E. E. Cummings (in the public domain in Canada)
Works by E. E. Cummings at Project Gutenberg
Works by or about E. E. Cummings at Internet Archive
Works by E. E. Cummings at LibriVox (public domain audiobooks)
E. E. Cummings, Lifelong Unitarian Biography of Cummings and his relationship with Unitarianism
E.E. Cummings Personal Library at LibraryThing
Papers of E. E. Cummings at the Houghton Library at Harvard University
E. E. Cummings Collection at the Harry Ransom Center at the University of Texas at Austin
Poems by E. E. Cummings at PoetryFoundation.org
Jonathan Yardley, E. E. Cummings: A Biography, Sunday, October 17, 2004, Page BW02, The Washington Post Book Review
SPRING:The Journal of the E. E. Cummings Society
Modern American Poetry
E. E. Cummings at Library of Congress Authorities – with 202 catalog records
Biography and poems of E. E. Cummings at Poets.org
[hide]
v
t
e
E. E. Cummings
Books
The Enormous Room (1922)
Tulips and Chimneys (1923)
is 5 (1926)
CIOPW (1931)
EIMI (1933)
No Thanks (1935)
Fairy Tales (1965)
Poetry
Puella Mea (1921)
"anyone lived in a pretty how town" (1940)
1 × 1 (1944)
"pity this busy monster, manunkind" (1944)
"I(a" (1958)
95 Poems (1958)
Plays
Santa Claus: A Morality (1946)
Related articles
E.E. Cummings House
Joy Farm
Patchin Place
Anyone Lived in a Pretty How Town (film)
Commons
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Grease 2
From Wikipedia, the free encyclopedia
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Grease 2
Theatrical release poster
Directed by
Patricia Birch
Produced by
Allan Carr
Robert Stigwood
Written by
Ken Finkleman
Starring
Maxwell Caulfield
Michelle Pfeiffer
Adrian Zmed
Lorna Luft
Didi Conn
Eve Arden
Sid Caesar
Dody Goodman
Tab Hunter
Connie Stevens
Music by
Louis St. Louis
Cinematography
Frank Stanley
Edited by
John F. Burnett
Production
company
Polydor Records
Distributed by
Paramount Pictures
Release date
June 11, 1982 (1982-06-11)
Running time
114 minutes[1]
Country
United States
Language
English
Budget
$11.2 million
Box office
$15.2 million[2]
Grease 2 is a 1982 American musical romantic comedy film and the sequel to Grease, which is based upon the musical of the same name by Jim Jacobs and Warren Casey. The film was produced by Allan Carr and Robert Stigwood, and directed and choreographed by Patricia Birch, who also choreographed the first film. It takes place two years after the original film at Rydell High School, set in the 1961-1962 school year, with an almost entirely new cast, led by actors Maxwell Caulfield and Michelle Pfeiffer.
The film was released theatrically on June 11, 1982 and grossed over $15 million against a production budget of $11 million.
Contents
[hide]
1 Plot
2 Cast
2.1 Reprising roles from Grease
2.2 Supporting cast
3 Production
3.1 Development
3.2 Casting
3.3 Filming
4 Music
5 Release
5.1 Box office
5.2 Critical reception
5.3 Accolades
6 Remakes
7 Plans for a third film
8 References
9 External links
Plot[edit]
It is 1961, two years after the original Grease ended. The first day of school has arrived and the T-Birds and the Pink Ladies dance and sing as they enter the high school ("Back to School Again"). The Pink Ladies are now led by Stephanie Zinone, who feels she has "outgrown" her relationship with her ex-boyfriend Johnny Nogerelli, the arrogant and rather immature new leader of the T-Birds.
A new arrival comes in the form of clean-cut English student Michael Carrington (a cousin of Sandy Olsson from the previous film). He is welcomed and introduced to the school atmosphere by Frenchy, who was asked by Sandy to help show Michael around. Frenchy reveals she has returned to Rydell to get her high school diploma so she can start her own cosmetics company. Michael eventually meets Stephanie and quickly becomes smitten with her.
At the local bowling alley, a game ("Score Tonight") turns sour due to the animosity between Johnny and Stephanie. Stephanie retaliates by kissing the next man who walks in the door, who happens to be Michael. Bemused by this unexpected kiss, Michael asks her out, but he learns that she has a very specific vision of her ideal man ("Cool Rider"). As he realizes that he will only win her affection if he turns himself into a cool rider, Michael accepts payment from the T-Birds to write term papers for them; he uses the cash to buy a motorcycle.
Following an unusual biology lesson ("Reproduction") given by Mr. Stuart, a substitute teacher, a gang of rival motorcyclists called the Cycle Lords (most of whom are members of the defunct Scorpions) led by Leo Balmudo, surprise the T-Birds at the bowling alley. Before the fight starts, a lone mysterious (unnamed) biker appears (who is Michael in disguise), defeats the enemy gang and disappears into the night ("Who's That Guy?"). Stephanie is fascinated with the stranger. Meanwhile, Louis, one of the T-Birds, attempts to trick his sweetheart Sharon, one of the Pink Ladies and Stephanie's friends into losing her virginity to him by taking her to a fallout shelter and faking a nuclear attack ("Let's Do It for Our Country").
The next evening while working at a gas station/garage, Stephanie is surprised again by the Cool Rider, and they enjoy a romantic twilight motorcycle ride. Just as Michael is about to reveal his identity, they are interrupted by the arrival of the T-Birds and Pink Ladies. Before Michael leaves, he tells Stephanie that he will see her at the school talent show, in which the Pink Ladies and T-Birds are performing. Johnny, enraged by Stephanie's new romance, threatens to fight the Cool Rider if he sees him with her again. The Pink Ladies walk away haughtily, but this has little effect on the T-Birds' self-confidence ("Prowlin'").
At school, Stephanie's poor grades in English lead her to accept Michael's offer of help. Johnny, upon seeing them together in a discussion, demands that Stephanie quit the Pink Ladies to preserve his honor ("rep", reputation). Although still enamored with the Cool Rider, interactions with Michael reveal that she has become romantically interested in him as well. Michael ponders over his continuing charade he puts on for Stephanie ("Charades").
At the talent show, Stephanie and the Cool Rider meet but are ambushed by the T-Birds who pursue Michael on their respective motorcycles, with Stephanie and the Pink Ladies following in a car. They chase him to a construction site which conceals a deadly drop, and the biker's absence suggests that he has perished below, leaving Stephanie heartbroken and inconsolable. Johnny and his T-Birds remove the competing Preptones - preppie boys - by tying them to a shower pole in the boys' locker room and drenching them. During the Pink Ladies' performance in the talent show ("Girl for All Seasons"), Stephanie enters a dreamlike fantasy world where she is reunited with her mystery biker ("(Love Will) Turn Back the Hands of Time"). She is named winner of the contest and crowned the queen of the upcoming graduation luau, with Johnny hailed as king for his performance of "Prowlin'" with his fellow T-Birds.
The school year ends with the luau ("Rock-a-Hula Luau"), during which the Cycle Lords appear and begin to destroy the celebration. However, the Cool Rider reappears. After he defeats the Cycle Lords again, he reveals himself to be Michael. Initially shocked, Johnny gives him a T-Birds jacket, officially welcoming him into the gang, and Stephanie accepts that she can now be with him. As a reward, Michael and Stephanie kiss for their new love for each other. All the couples pair off happily at the seniors' graduation as the graduating class sings ("We'll Be Together"). The credits start rolling in yearbook-style, as in the original film.
Cast[edit]
Maxwell Caulfield as Michael Carrington, an English exchange student and Sandy's cousin. Caulfield had already made his Broadway debut with roles in The Elephant Man and Entertaining Mr. Sloane. Having seen his performances, Allan Carr offered Caulfield the role of Michael over thousands of applicants.[3] Unlike co-star Pfeiffer, Caulfield's career following Grease 2 was damaged by the film's failure. He has been quoted as saying: "Before Grease 2 came out, I was being hailed as the next Richard Gere or John Travolta. However, when Grease 2 flopped, nobody would touch me. It felt like a bucket of cold water had been thrown in my face. It took me 10 years to get over Grease 2."[4]
Michelle Pfeiffer as Stephanie Zinone, the leader of the Pink Ladies. With only a few television roles and small film appearances, the 23-year-old Pfeiffer was an unknown actress when she attended the casting call audition for the role of Stephanie. Other better-known actresses up for the part included Lisa Hartman, Kristy McNichol, Andrea McArdle, and singer Pat Benatar.[5] Pfeiffer was a wild card choice, but according to Birch, she won the part because she "has a quirky quality you don't expect."[6]
The T-Birds
Adrian Zmed as Johnny Nogerelli
Christopher McDonald as Goose McKenzie
Peter Frechette as Louis DiMucci
Leif Green as Davey Jaworski
The Pink Ladies
Maureen Teefy as Sharon Cooper
Lorna Luft as Paulette Rebchuck
Allison Price-Becker as Rhonda Ritter
Pamela Segall as Dolores Rebchuck
Reprising roles from Grease[edit]
Didi Conn as Frenchy
Eve Arden as Principal Greta McGee
Sid Caesar as Coach Calhoun
Dody Goodman as Secretary Blanche Hodel
Eddie Deezen as Eugene Felsnick
Dennis C. Stewart as Leo Balmudo (Craterface), leader of the Cycle Lords (appeared as the gang leader of the Scorpions in the previous film)
Dick Patterson as Mr. Spears (appeared as Mr. Rudie in the previous film)
Supporting cast[edit]
Tab Hunter as Mr. Stuart
Connie Stevens as Miss Yvette Mason
Jean and Liz Sagal as the Sorority / Cheerleader Twins
Matt Lattanzi as Brad, one of the Prep-Tones
Donna King as Girl Greaser (lead dancer)[7]
Lucinda Dickey as Girl Greaser
Ivy Austin as Girl Greaser `Francine'
Andy Tennant as Boy Greaser `Artie' (Arnold in Grease)
Bernard Hiller as Boy Greaser
Tom Villard as Boy Greaser `Willie' (Performs `Cry' at the Talent Show)
Vernon Scott as Henry Dickey, one of the Prep-Tones
Tom Willett as Bowling Alley Manager (uncredited)
Janet Jones as the Girl who missed her last two periods (Uncredited)
William N. Clark as Cycle Salvage Yard Manager (Uncredited) - also was a cameraman
Aurelio Padron as Boy Greaser
John Robert Garrett as Boy Greaser (Bubba in Grease)
Helena Andreyko as Girl Greaser (Trix in Grease)
Dennis Daniels as Boy Greaser (Bart in Grease)
Vicki Hunter as Girl Greaser
Sandra Gray as Girl Greaser (Big G. in Grease)
John Allee as student with basketball (Calhoun: "We'll put high-heels on your sneakers and we'll make you a center!")
Michael David Eilert as Boy Greaser (Uncredited)
Production[edit]
Development[edit]
Grease co-producer Allan Carr had a deal with Paramount Pictures to be paid $5 million to produce a sequel, with production beginning within three years of the original film. Carr decided to hire Patricia Birch as director for the sequel, as she had previously served as the choreographer for the stage and film versions of Grease. Birch was initially hesitant to accept after learning that neither composers Jim Jacobs and Warren Casey nor John Travolta and Olivia Newton-John would be involved in film.[8] Bronte Woodard, the writer who adapted the original stage material for the original film, had died in 1980, and Canadian comic Ken Finkleman was tasked with penning a new script mostly from scratch. The total budget for the production was $11.2 million, almost double the budget of the original.[9]
Grease 2 was intended to be the second film (and first sequel) in a proposed Grease franchise of four films and a television series. (The third and fourth films were to take place in the sixties and during the counterculture era.) However, the projects were scrapped due to the underwhelming box office performance of Grease 2.[10] Maxwell Caulfield was unhappy with the film's "drab" title, and unsuccessfully lobbied to change it to Son of Grease.[11]
Casting[edit]
Birch proposed an idea to feature Travolta and Newton-John reprising their characters as a now married couple running a gas station near the end of the film, which did not come to fruition.[8] Paramount tried to get Jeff Conaway and Stockard Channing from the first film to do cameos but this did not happen.[12]
Timothy Hutton was announced as a male star,[13] but Maxwell Caulfield was signed after impressing producers on Broadway in Entertaining Mister Sloane.
Pfeiffer had only made a few films before:
That was really weird for me. I'd been taking singing lessons and I had taken dance, because I loved to dance, but I had never considered myself a professional at all. I went on this audition as a fluke, and somehow, through the process of going back and dancing, and then going back and singing, I ended up getting the part. I went crazy with that movie. I came to New York and the paparazzi were waiting at the hotel. I know the producers put them up to it. I am basically very private, and I'm really nervous about doing publicity. Every time I set up an interview, I say, "That's it, this is my last one. I'll do this because I committed to doing it, but I'm never doing another one." It was insane.[14]
Lorna Luft was the last star cast.[15] The part played by Connie Stevens was originally meant for Annette Funicello but she was unable to appear as she was filming a peanut butter advertisement that week.[16]
Adrian Zmed had previously played the role of Danny Zuko in the stage version of Grease, a role he would later reprise in the 1990s.[17]
Filming[edit]
Scenes at Rydell High School were filmed at Excelsior High School, an abandoned school in Norwalk, California.[9] Filming took place throughout a 58-day shooting schedule during the autumn of 1981.[10] According to director Birch, the script was still incomplete when filming commenced.[10] Sequences that were filmed but cut during post-production include scenes in which Frenchy helps Michael become a motorcycle rider, and a sequence at the end of the film showing Michael and Stephanie flying off into the sky on a motorcycle.[10]
In the film, after Stephanie wins the contest, it goes on to show the stakeout in the final scene. Originally, there were a few minutes dedicated to a scene in which Michael (believed to be dead in his alter ego, by Stephanie) comes out on stage as Stephanie is exiting the stage, unbeknownst to her that he is the cool rider and he is alive. He attempts to ask her what's wrong and she storms past him and runs off crying, then it cuts to the stakeout. There was a scene within the "Who's that Guy?" number in which Goose accidentally smashes Rhonda's nose at the Bowl-A-Rama door. None of these scenes have been shown since the film's release.
Music[edit]
Main article: Grease 2 (soundtrack)
Grease 2
Soundtrack album
Released
1982
Recorded
1981
Length
32:28
Label
Polydor
chronology
Grease
(1978)
String Module Error: Match not foundString Module Error: Match not found
Professional ratings
Review scores
Source
Rating
AllMusic link
"Back to School Again" – Cast and The Four Tops (verses by the Pink Ladies are absent from the soundtrack)
"Score Tonight" – T-Birds, Pink Ladies, Cast
"Brad" – Noreen and Doreen
"Cool Rider" – Stephanie
"Reproduction" – Mr. Stuart and Students
"Who's That Guy?" – Michael, T-Birds, Pink Ladies, Cycle Lords, and Cast
"Do It for Our Country" – Louis and Sharon (Sharon's part is absent from the soundtrack)
"Prowlin'" – Johnny and T-Birds
"Charades" – Michael
"Girl for All Seasons" – Sharon, Paulette, Rhonda, and Stephanie
"(Love Will) Turn Back the Hands of Time" – Stephanie and Michael
"Rock-a-Hula Luau (Summer Is Coming)" – Cast
"We'll Be Together" – Michael, Stephanie, Johnny, Paulette, and Cast
Featured as background music at Rydell Sport Field:
"Moon River" (The Spirit of Troy- University of Southern California Marching Band)
Featured as background music at the bowling alley:
"Our Day Will Come" – Ruby & The Romantics (Grease 2 takes place in 1961-62 and "Our Day Will Come" did not come out until 1963)
"Rebel Walk" – Duane Eddy (this was the B-side of his biggest hit "Because They're Young")
Featured at the beginning:
"Alma Mater" – Instrumental (this song was played at the beginning when Principal McGee and Blanche put up the 1961 Rydell flag)
Release[edit]
Box office[edit]
The sequel took in just over $15 million after coming at fifth on opening weekend behind E.T.: The Extra-Terrestrial, Star Trek II: The Wrath of Khan, Rocky III, and Poltergeist.[2]
Critical reception[edit]
As of April 2018[update], the film had a rating of 34% on Rotten Tomatoes, based on 29 critics' reviews, with an average rating of 3.6/10. The site's consensus states: "Grease 2 is undeniably stocked with solid songs and well-choreographed dance sequences, but there's no getting around the fact that it's a blatant retread of its far more entertaining predecessor."[18] Janet Maslin for The New York Times condemned the film as "dizzy and slight, with an even more negligible plot than its predecessor had. This time the story can't even masquerade as an excuse for stringing the songs together. Songs? What songs? The numbers in Grease 2 are so hopelessly insubstantial that the cast is forced to burst into melody about pastimes like bowling."[19] Variety, on the other hand, commended the staging of the musical numbers, writing that Patricia Birch has come up with some unusual settings (a bowling alley, a bomb shelter) for some of the scenes, and employs some sharp montage to give most of the songs and dances a fair amount of punch."[20] Roger Ebert for the Chicago Sun-Times gave the film 2 stars out of 4, saying: "This movie just recycles Grease, without the stars, without the energy, without the freshness and without the grease."[21]
However, Pfeiffer received positive notices for her first major role. The New York Times review cited her performance as the "one improvement" on the original film: "Miss Pfeiffer is as gorgeous as any cover girl, and she has a sullen quality that's more fitting to a Grease character than Miss Newton-John's sunniness was."[19] Variety wrote that she was "all anyone could ask for in the looks department, and she fills Olivia Newton-John's shoes and tight pants very well."[20] Pfeiffer told the Los Angeles Times three years later:
“ That film was a good experience for me. It taught me a valuable lesson. Before it even came out the hype had started. Maxwell and I were being thrust down the public's throat in huge full page advertisements. There was no way we could live up to any of that and we didn't. So the crash was very loud. But it did teach me not to have expectations.[22] ”
Barry Diller of Paramount said that the film "on no level is as good as the first. The quality isn't there."[23] Jim Jacobs described it at the time as "awful... the pits."[24] In an interview 27 years later, Jacobs noted that Grease 2 "still brings a brief frown to his face."[25]
Accolades[edit]
Pfeiffer was nominated for a 1983 Young Artist Award in the category of Best Young Motion Picture Actress.
The film was nominated for a Stinkers Bad Movie Awards for Worst Picture.[26]
Remakes[edit]
The film's screenplay was adapted in the Kannada (South India) feature film Premaloka, starring Ravichandran and Juhi Chawla, released in 1987, which went on to become a blockbuster.
Plans for a third film[edit]
In 2008, it was reported that Paramount was planning a new sequel to Grease that would debut straight to DVD.[27] However, the project never came to fruition.
References[edit]
Jump up ^ "GREASE 2 (A)". British Board of Film Classification. June 14, 1982. Retrieved September 26, 2015.
^ Jump up to: a b Grease 2 (1982) – Box Office Mojo
Jump up ^ The Maxwell Caulfield Picture Pages
Jump up ^ Maxwell Caulfield trivia Archived October 11, 2008, at the Wayback Machine. at movietome.com
Jump up ^ http://www.pfeiffertheface.com/Bio_014.htm Archived July 25, 2008, at the Wayback Machine.
Jump up ^ http://www.pfeiffertheface.com/Bio_013.htm Archived January 18, 2010, at the Wayback Machine.
Jump up ^ Alumni: Donna King at millermarley.com, accessed 8 April 2018
^ Jump up to: a b Hofler 2010, p. 136.
^ Jump up to: a b Hofler 2010, p. 144.
^ Jump up to: a b c d Grease 2 Trivia at the Internet Movie Database
Jump up ^ Heimel, Cynthia (March 22, 1983). "The Next Overnight Sensation". New York: 45. Retrieved August 19, 2013.
Jump up ^ 'Taxi' brings back Jeff Conaway Beck, Marilyn. Chicago Tribune (1963-Current file) [Chicago, Ill] 08 Sep 1981: a5.
Jump up ^ Hollywood 'drug war' is mostly talk Beck, Marilyn. Chicago Tribune (1963-Current file) [Chicago, Ill] 16 Mar 1982: c12.
Jump up ^ http://www.interviewmagazine.com/film/new-again-michelle-pfeiffer/
Jump up ^ LORNA LUFT'S ROAD GETS SMOOTHER: LORNA LUFT'S ROAD Rosenfield, Paul. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 07 Mar 1982: m25.
Jump up ^ MOVIES: 'HEY, WHAT FLOOR AM I ON?!' A FRENETIC DAY IN CHICAGO FORA PRODUCER BORN TOO LATE Popson, Tom. Chicago Tribune (1963-Current file) [Chicago, Ill] 20 June 1982: f20.
Jump up ^ Adelson, Suzanne (June 20, 1983). "T.j. Hooker's Adrian Zmed Looks to a Serious Future Beyond Beefcake and Bad Boys". People. 19 (24). Retrieved August 31, 2016.
Jump up ^ Grease 2 at Rotten Tomatoes. Accessed September 15, 2017.
^ Jump up to: a b Maslin, Janet. Movie Review: Grease 2 (1982): More Grease, The New York Times, 11 June 1982.
^ Jump up to: a b Grease 2 review, Variety, 1 January 1982.
Jump up ^ Ebert, Roger. "Grease 2". Chicago Sun-Times.
Jump up ^ MOVIES: PFEIFFER'S GOT A CULT OF HER OWN Mann, Roderick. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 03 Mar 1985: u21.
Jump up ^ Hollywood Sequels Are Just the Ticket: Superman VII? Maybe. But studios risk going to the well once too often. Hollywood Sequels: Just the Ticket By LESLIE WAYNE. New York Times (1923-Current file) [New York, N.Y] 18 July 1982: F1
Jump up ^ Playwright a hit at Taft High: 'Grease'-er revisits scene of his teens 'Grease'-er visits scene of his teens Clifford, Terry. Chicago Tribune (1963-Current file) [Chicago, Ill] 12 Apr 1983: d1
Jump up ^ "Bring back our own, original R-rated 'Grease'". 8 January 2009. Archived from the original on 17 November 2013. Retrieved 28 June 2015.
Jump up ^ "1982 5th Hastings Bad Cinema Society Stinkers Awards". Stinkers Bad Movie Awards. Los Angeles Times. Archived from the original on August 15, 2007. Retrieved April 2, 2013.
Jump up ^ Sciretta, Peter (August 21, 2008). "Mean Girls 2? Naked Gun 4? Road Trip 2? Grease 3?". Slash Film. Retrieved August 16, 2010.
Bibliography
Hofler, Robert (2010). Party Animals: A Hollywood Tale of Sex, Drugs, and Rock 'n' Roll Starring the Fabulous Allan Carr. Philadelphia: Da Capo Press. ISBN 978-0-306-81655-0.
Tropiano, Stephen (2011). Grease. Music on Film. Milwaukee: Limelight Editions. ISBN 978-0-87910-389-7.
External links[edit]
Wikiquote has quotations related to: Grease 2
Grease 2 on IMDb
Grease 2 at Box Office Mojo
Grease 2 at Rotten Tomatoes
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