Continuity: In the scene where Tracy first goes to detention and meets Seaweed, when Seaweed says, "Well this is something for you," and then he introduces himself, look on the floor behind him. You can see crinkled up paper balls on the floor that throughout the entire scene move spots, and you never see anybody pick all of them up. For example, watch when Seaweed is dancing and his foot touchs a ball and it gets tossed aside and magically disappears.

Continuity: At the end of "You Can't Stop the Beat," the first angle is of Tracy and Link, and then Penny and Seaweed come down a space that the Dancers make them. At one point the Dancers are almost up and then in the next shot, the Dancers are bent down and are coming up again.

Continuity: During the "You Can't Stop The Beat" number at the end, when Amber goes to sit in the Hairspray Can, on the wide shot with Link and Tracey at the front, you can see the can starts to move up slightly at the back, then the shot changes to the guys starting to pull the ropes, then the can is seen stationary for a split second before starting to move up with Amber inside it.

Continuity: At the start of "Good Morning Baltimore," Tracy's alarm clock changes position three times.

Continuity: When Tracy is running away from the police, there is a shot of her pushing through the crowd until she is free, but the next bird's-eye shot shows her pushing through the marchers all over again.

Continuity: Durring the scene with the picture of the teacher with Breasts. Link's and Amber's seats move. Link's seat is behind the desk and then its in front moving Amber's seat over towards the center of the desk.

Continuity: When Amber is crying on her bed, and her mother (Velma) comes over holding a white cat, during the scene the cats motions are not consistent from shot to shot, and at the end of the scene Velma lifts the cat up twice between shots.

Continuity: During "Without Love" the positions of the lamp, vanity box, globe, etc. on the desk (where Link eventually sets down Tracy's photo) keep changing.

Continuity: The direction that Link's microphone faces changes a few times during "Ladies Choice" and also his position and the way he handles the mike is not continuous throughout the song.

Continuity: When the kids are getting off the bus singing "Run and Tell That," Penny is in front of Tracy. But when the camera is inside the bus, Tracy is in front of Penny.

Continuity: When the song "I Know Where I've Been" has finished and the crown is chanting, the position of Edna's arm that holds the white purse, changes between shots.

Continuity: When Amber is being bitchy about Tracy in class and Link tells her to stop, during this scene Amber's arms continually keep changing position.

Continuity: In the final scene where the votes are being taken in on the scoreboard, the amount of scores on the board, for Tracy and Amber, is inconsistent between shots.

Continuity: During "Weclome to the 60's" when Edna is looking over the contract at 'Mr. Pinky's Hefty Hideaway', her arm keeps alternating from up to down between shots.

Continuity: During "Good Morning Baltimore", when the bum on the barstool waves to Tracy, in the first shot he has his whole hand waving, yet in the next shot only two fingers wave at her.

Factual error: The movie is set in 1962, but when Tracy misses her bus, she catches a ride on an International-Harvester truck that wasn't introduced until 1969.

Continuity: At the end of 'Run and Tell That' you see Penny begin to get off the bus first. Next shot, you see Tracy stand up to get out with Penny behind her. In the next shot, Penny is off the bus first again with Tracy behind her.

Continuity: During "Run and Tell That" When Seaweed introcudes Little Inez, he hugs he causing her collar to fold over. In the next shot it's back down and neat.

Revealing: Right after "Without Love", we see Edna answering the phone. If you've seen the movie as many times as I have, you'll see that this is a recycled shot from earlier when Mr. Pinky calls.

Continuity: During "Ladies Choice", in a wide shot Corny Collins has his arms by his side, grooving. In the next closeup his arm are spread out wide.