Drudge Retort: The Other Side of the News
Sunday, August 30, 2026

Musicology professor Jake Johnson argues that beneath the bright songs and happy endings of mid-century musicals lay the grief and anxieties of postwar America.

Art reflects life

More

Comments

Admin's note: Participants in this discussion must follow the site's moderation policy. Profanity will be filtered. Abusive conduct is not allowed.

FTA: "This is especially true for musicals produced during the 1950s and 1960s, a time when widespread social upheaval -- from the trauma of the Second World War to the polarization of the civil rights movement, the Cold War, the Cuban Missile Crisis, and assassinations of John F. Kennedy and Martin Luther King, Jr. gave rise to fears and frustrations so profound, their traces can be found in even that most escapist of artforms."

~snip~

John and Jacqueline Kennedy's favorite Broadway musical was Camelot, starring Quebec-descent Robert Goulet (bass-baritone), Englishwoman Julie Andrews (soprano), and Welchman Richard Burton (baritone).


Sidenotes: Julie Andrew's understudy in Camelot was talented soprano Mary Millar: Rose

The late Jacqueline Kennedy reportedly had size ten feet and preferred to be called "Jack-leen" (to rhyme with "queen"), which made her a target of subtle ridicule by some members of the Irish Kennedy clan.

"FUNNY"

#1 | Posted by C0RI0LANUS at 2026-08-30 08:43 PM | Reply

The following HTML tags are allowed in comments: a href, b, i, p, br, ul, ol, li and blockquote. Others will be stripped out. Participants in this discussion must follow the site's moderation policy. Profanity will be filtered. Abusive conduct is not allowed.

Anyone can join this site and make comments. To post this comment, you must sign it with your Drudge Retort username. If you can't remember your username or password, use the lost password form to request it.
Username:
Password:

Home | Breaking News | Comments | User Blogs | Stats | Back Page | RSS Feed | RSS Spec | DMCA Compliance | Privacy

Drudge Retort