Word: cole
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Dates: during 1960-1969
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Taking off from the Vitalis TV commercial (says Bart Starr, root-deep in Vitalis. to the oily-headed locker-room amateur beside him: "Say, you still using that greasy kid stuff?"). Greasy Kid Stuff was invented last summer as a gag. Its college-boy creators. Bill Cole and Larry Frohman, each invested $50, mixed up a batch of mineral oil and lanolin in a lard can, threw in a pinch of spice perfume, churned the whole with an egg beater, and turned out 120 bottles of Stuff. Their advertising was built in: the $10 million Bristol-Meyers campaign for Vitalis...
...Cole and Frohman copyrighted the name, got approval from the Food and Drug Administration, and today are busy shipping an estimated 50,000 bottles of Stuff to outlets ranging from Jordan Marsh in Miami to Gimbels in New York to A. D. Clark in Los Angeles. The boys, who make a 35% profit on every 98? bottle, are sure they've struck...
...Silk Stockings, in a manner of speaking, is an uneven pair: during the first act, almost everybody on stage is at loose ends with himself, missing cues, timing jokes badly, willfully ignoring the orchestra, and generally making a hash of what is not a very good Cole Porter show at best. But from the very beginning of Act II, we are delightfully, tunefully, spiritedly taken in hand and tossed into that wonderful Dream Kingdom, Drumbeat and Song Land, where girls are goilier, flesh is flashier, and nonsense is all the sense we crave...
...moments when everybody decides to drop the foolishness of the plot and let the gags do their worst, and the girls give their all. One of the reasons Act I is disappointing is that the material is simply awful: unrecognizable as acceptable music hall fare, much less as Cole Porter musical comedy. And, of course, Mr. Graham-White, for reasons into which we need not inquire, wasn't around...
Three pieces at the end are about the "cultural and intellectual community" of the Atlantic countries. Of these, David Cole's on Odets, Genet and Osborne is alone a joy to read for its reflections on how these playwrights manhandle their audiences. George Collier has written an extremely intelligent and learned article on the anthropological methods of France, England, and America which after three readings still leaves me, if instructed, cold; it may bring something to others. Drew de Shong has a weird little rapid-fire glance at three avant-garde sculptors, a lollipop he lets us lick just once...