Podcasts about laurents

Yves Saint Laurent brukade kalla Betty Catroux för sin tvillingsjäl. I år fyller hon 80 och fortsätter att inspirera med sin stil. Lyssna på alla avsnitt i Sveriges Radio Play. Betty Catroux är den kvinna som mest av alla kom att förkroppsliga modeskaparen Yves Saint Laurents vision om en modern kvinna i de maskulint kodade plagg som kom att bli hans signum: kostymen, Le Smoking och safarijackan. Ingen kunde som hon bära upp just den typen av plagg. “Hon är perfekt i mina kläder – hon är lång, lång, lång”, som Yves Saint Laurent själv sade.När han första gången såg henne var hon klädd i kort kjol och långa svarta läderstövlar och sög nonchalant på en cigarett. Yves, som då själv var nyblonderad och klädd i svart läder, trodde inte sina ögon. Hon var hans kvinnliga spegelbild. Lång, gänglig och androgyn. De blev bästa vänner.I veckans Stil berättar vi mer om Betty Catroux och hennes bekymmerslösa livstil. Hon är känd för att slänga ur sig citat som: ”Min största ambition i livet har alltid varit att aldrig lyfta ett finger”. Vi berättar också om nattklubbsdrottningen Régine som drev klubben Chez Régine i Paris. Det var där som Betty Catroux och Yves Saint Laurent träffades första gången 1967.Vi tar också en närmare titt på Betty Catrouxs man Francois Catroux, som var inredningsdesigner. Jonatan Jahn på auktionshuset Bukowskis berättar om stilen han skapade med sina inredningar. Och så blickar vi tillbaka mot millenieskiftet när en annan androgyn kvinna gjorde debut: den kanadensiska artisten Avril Lavigne. DN:s musikredaktör Kajsa Haidl berättar hur hon har banat vägen för många av dagens stjärnor, inte minst under poppunkens återkomst.

The original production of Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written.  The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky on the Rite of Spring.  No Broadway show had ever been so gritty, so tragic, and so raw.  The first performances of Westside Story were done against the backdrop of a rise in gang violence in New York City.  The socio-economic aspects of the show were evident to everyone who watched it, and I always like to remind people that the location where Bernstein, Arthur Laurents, who adapted Shakespeare's Romeo and Juliet for this show, and Sondheim imagined the story taking place is where Lincoln Center now sits, a seat of opulence and extravagance. Simply put, this was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators.  Today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story, an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere.  The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since.  So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!

WADE McCOLLUM (Actor) Broadway: Wicked (Witch's Father, Wizard/Dr. Dillamond cover) London's West End: World Premiere of It Happened in Key West (Carl) Broadway Tours: Lincoln Center Theatre's My Fair Lady (Karpathy/Higgins cover), Priscilla Queen Of The Desert (Tick/Mitzi), Jersey Boys (Norm). Off-Broadway: Make Me Gorgeous, (Kate/Kenneth Marlowe), Triassic Parq (Velociraptor of Faith), Secondary Dominance (The Muse), and McCollum's Lortel Nominated and Norton Award-winning performance as Ernest in Ernest Shackleton Loves Me. World Premieres: Water For Elephants, Alliance Theatre (Wade); Michael Weller's A Welcome Guest, CATF (Shimeus); Rob Askins' The Carpenter, Alley Theatre (Gene); Fly By Night, TheatreWorks Palo Alto (The Narrator). Select Theatre: I Am My Own Wife, PCS (Charlotte/Others); A Lie Of The Mind, PCPA (Jake); A Midsummer Night's Dream, Willamette Rep (Puck); Batboy the Musical, PCS (Batboy); The Rocky Horror Show, Triangle Productions (Frank-N-Furter); The Santaland Diaries, Syracuse Stage (Crumpet); Cabaret, Dallas Theatre Center (Emcee) – Dallas/Fort Worth Theatre Critics Award; Hedwig And The Angry Inch, Triangle Productions and L.A.'s Celebration Theatre (Hedwig) – Drammy, Ovation, Los Angeles Critics Circle, and Garland Awards. Select TV and film: “FBI: MW,” “Madame Secretary,” “The Knick,” “Nightcap,” “At Home with Amy Sedaris,” Options, “Prodigal Son,” Delicate Instruments, “Submissions Only,” and Ernest Shackleton Loves Me on broadwayhd.com. www.wadesong.com Rick Elice ( Book Writer) On Broadway: Jersey Boys (Best Musical, 2006 Tony Award, 2007 Grammy Award and 2009 Olivier Award); The Addams Family; Peter and the Starcatcher (winner of five 2012 Tony Awards);and The Cher Show (winner of two 2019 Tony Awards). In the pipeline: The Princess Bride and Smash, co-written with Bob Martin; Silver Linings Playbook, a musical adaptation of the popular film; The Marvels, a musical adaptation of the popular novel; and Treasure, an original musical written with 2021 Ed Kleban Award-winner Benjamin Scheuer. From 1982-1999, as creative director at Serino Coyne Inc, Rick created and produced ad campaigns for more than 300 Broadway shows, from A Chorus Line to The Lion King. From 1999-2009, he served as creative consultant for The Walt Disney Studio. Charter member, American Repertory Theatre. Trustee, The Actors' Fund. BA, Cornell University; MFA, Yale Drama School; Teaching Fellow, Harvard University. Heartfelt thanks to those he's been lucky enough to know, whose work makes him grateful for the day he was born: Sondheim, Stoppard, Bennett, Prince, Fosse, Robbins, Nichols, Tune, Nunn, Timbers, McAnuff, Laurents, Lippa, Stone, Taymor, Papp, Schumacher, Schneider, Costello, Coyne, Brickman, and eternally, Roger Rees. Hey Rog, look who's running away with the circus! Learn more about your ad choices. Visit podcastchoices.com/adchoices

It may not be a musical, but it sure is close... It's The Way We Were! It's 1973. Watergate has happened. Barbra Streisand, Robert Redford, Arthur Laurents, and Sidney Pollack get together to re-create the weepy romcom in the non-musical—but musical-theatre-adjacent!—classic The Way We Were.   We talk about: The Conflict: Streisand & Laurents versus Pollack & Redford, and some of the behind-the-scenes drama that led to the creation of this classic. The Song: Marvin Hamlisch's classic song that put the film on the map. The Laughter: What does it mean to sing, "so it's the laughter we will remember?" Laughter emerges as a marker of class & race in this film. How does that marker intersect with the misty, watercolor nature of memory – and the danger of nostalgia? The People & the Principles: the film's central conflict between personal relationships and principles, and how that conflict maps (and doesn't) onto religious systems. Is Christianity about people, or is it about principles? You'll hear: Barbra singing the film's title song from the 1973 film soundtrack, and an excerpt from the 1998 episode of Sex in the City, Episode 18 (“Ex in the City”).   Continue the conversation with us on Instagram and The Platform Formerly Known as Twitter (@gospelofmt).

In today's heartwarming Valentine's Day episode of The Over 50 Health & Wellness Show, we delve into the healthy aging journey of Richard and Frankie Laurent. This couple's commitment to health and fitness not only transformed their bodies but also deepened their bond. Their story offers insights into the power of partnership in achieving a healthier, more vibrant life after 50. Episode Highlights:Meet Richard and Frankie: Get introduced to the Laurents and hear about their life before embarking on their health transformation. Learn about their struggles with weight, non-active lifestyles, and the realization that led them to take the first step towards change. The Health Awakening: Discover the pivotal moments that sparked Richard and Frankie's commitment to health and fitness. Learn how they navigated the initial challenges, from adjusting diets to incorporating strength training into their routine. Journey of Transformation: Witness the incredible physical transformations of Richard and Frankie, including weight loss, muscle gain, and improved overall vitality. Understand the specific strategies they implemented, such as increasing protein intake, engaging in regular strength training, and how these changes significantly impacted their health. Deepening Bonds: Explore how Richard and Frankie's journey to better health brought them closer together. Learn how shared goals and supporting each other through the highs and lows have enriched their relationship and made them stronger as a couple. Advice for Listeners: Richard and Frankie share actionable tips for listeners inspired by their story. Whether you're embarking on this journey with a partner or solo, their advice on nutrition, exercise, and consistency is invaluable. Relating to Your Life: This episode isn't just about the Laurents' journey - it's a call to action for anyone over 50 looking to reclaim their health and vitality. Learn how you can apply the lessons from Richard and Frankie's experience to your own life, regardless of your starting point. Call to Action:Inspired by Richard and Frankie's transformation and want to see similar results in your own life? Whether you're taking this journey alone or with a partner, it's never too late to start. Click HERE to learn more and book a call with us today, and let's discuss how you can achieve the healthiest, strongest version of yourself in the second half of your life. Your journey to transformation and a deeper connection with your loved ones starts today!Want to rewrite the narrative of your life and health? Visit the link below to see if our 1:1 coaching services are a perfect fit for your long term goals: https://calendly.com/thesilveredge/coaching-inquiry Want more over 50 health and wellness goodness? Check out our private Facebook group: https://www.facebook.com/groups/silveredgefitness

We're back! Welcome to Season 10! Leonard Bernstein to his wife: "These days have flown so -- I don't sleep much; I work every -- literally every -- second (since I'm doing four jobs on this show -- composing, lyric-writing, orchestrating and rehearsing the cast). It's murder, but I'm excited. It may be something extraordinary. We're having our first run thru for PEOPLE on Friday -- Please may they dig it!."  Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written.  The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky with the Rite of Spring.  Simply put, no Broadway show had ever been so gritty, so tragic, and so raw. This was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators.  And today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story; an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere.  The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since.  So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!

Laurent Schroeder-Lebec's love of heavy, ground-breaking, earth-shaking music is well established by his band Pelican and their diverse discography over the past 20 years. But somewhere around 2012 LSL began to feel the tug of a different calling; starting a family and supporting that family to the best of his ability, and that included becoming beverage director for Big Star here in Chicago. Certainly Pelican had been experiencing success and was making money as a professional band, one that tours 8 months of the year and can sustain itself when not on the road. But raising a family is a different beast so he made the tough decision to leave Pelican. Shredder Dallas Thomas filled Laurents role heroically for several records until just recently when the band began to reissue their first 3 records on Thrill Jockey with new remasters and in the case of the last reissue, The FIre In Our Throats Will Beckon The Thaw, they were able to add a new remix in addition to remaster by original engineer Greg Norman, with spectacular results. These reissues sparkle and roar in all the right places and bring these records to the sonic level of later releases. With Laurent firmly back in the band, Pelican have been enjoying their reunification and showing the world they still got that thing that put them on the map in first place: the fire in their throats! 

Rick Elice co-wrote Jersey Boys (winner 2006 Tony Award, 2007 Grammy Award and 2009 Olivier Award for Best Musical) with the great Marshall Brickman; The Addams Family; Peter and the Starcatcher (winner of five 2012 Tony Awards); and The Cher Show (currently on tour in the UK). In the pipeline: The Princess Bride for Disney; Smash for Robert Greenblatt, Neil Meron and Steven Spielberg, music and lyrics by Marc Shaiman and Scott Wittman, directed by Susan Stroman. Rick is also adapting Sara Gruen's novel Water for Elephants; the popular film, Silver Linings Playbook; and writing an original musical, Treasure, with 2021 Ed Kleban Award-winner Benjamin Scheuer. Rick's book, Finding Roger, An Improbably Theatrical Love Story, is published by Kingswell. Heartfelt thanks to those whose theatre work makes him grateful for the day he was born: Sondheim, Stoppard, Bennett, Prince, Fosse, Robbins, Nichols, Nunn, Laurents, Stone, Taymor, Papp, Schumacher, Schneider, David, Strong, Gaudio, Valli, McAnuff, Trujillo, Timbers, Coyne, Brickman, and, eternally, Roger Rees. Rick thinks about them a lot. He never thought about Jersey much. He does now.

Rick Elice co-wrote Jersey Boys (winner 2006 Tony Award, 2007 Grammy Award and 2009 Olivier Award for Best Musical) with the great Marshall Brickman; The Addams Family; Peter and the Starcatcher (winner of five 2012 Tony Awards); and The Cher Show (currently on tour in the UK). In the pipeline: The Princess Bride for Disney; Smash for Robert Greenblatt, Neil Meron and Steven Spielberg, music and lyrics by Marc Shaiman and Scott Wittman, directed by Susan Stroman. Rick is also adapting Sara Gruen's novel Water for Elephants; the popular film, Silver Linings Playbook; and writing an original musical, Treasure, with 2021 Ed Kleban Award-winner Benjamin Scheuer. Rick's book, Finding Roger, An Improbably Theatrical Love Story, is published by Kingswell. Heartfelt thanks to those whose theatre work makes him grateful for the day he was born: Sondheim, Stoppard, Bennett, Prince, Fosse, Robbins, Nichols, Nunn, Laurents, Stone, Taymor, Papp, Schumacher, Schneider, David, Strong, Gaudio, Valli, McAnuff, Trujillo, Timbers, Coyne, Brickman, and, eternally, Roger Rees. Rick thinks about them a lot. He never thought about Jersey much. He does now.

In this special holiday encore, we revisit the very first full episode of Cinema Sounds & Secrets! Westside Story (1962) and Superman (1972) Our first film was a ground breaking musical based on a smash Broadway show, and the other a movie from a very different planet – so what do they have in common?  Both films are the best of their genre – the film musical and comic book superhero and both films brim with star power.   In 1961 our first film stunned audiences with brilliant songs and stunning choreography in a dazzling display of magic – by a team of masters from film and theatre at the top of their game; Bernstein, Sondheim, Laurents, Hal Prince and Jerome Robbins.  Our other film takes us to Metropolis where an unknown theatre actor with insane comic timing and drop dead good looks – was picked to have the lead over Marlon Brando and Gene Hackman – you might want to keep your seat belt buckled for this one as we take flight with my wingman, actor-producer and cinephile, the ever-buckled up and ready for action, John Schwab… so let's go to the movies.

JERSEY BOYS COMPOSER: Bob Gaudio LYRICIST: Bob Crewe BOOK: Marshall Brickman, Rick Elice DIRECTOR: Des McAnuff CHOREOGRAPHER: Sergio Trujillo PRINCIPLE CAST: Christian Hoff (Tommy), Daniel Reichard (Bob), John Lloyd Young (Frankie) OPENING DATE: Nov 06, 2005 CLOSING DATE: Jan 15, 2017 PERFORMANCES: 4,642 SYNOPSIS: The rise and fall of The Four Seasons, a real-life band that dominated the 1960s music scene, is told through rotating narrators, who all offer their own theories as to why the band succeeded and subsequently dissolved.  The early 2000s saw an onslaught of failed jukebox musicals which aimed to capitalize on the disposable income of former rock fans by luring them to the theatre with familiar songs. Jersey Boys was successful because it tells the true, engrossing story of the Four Seasons and juxtaposes the violence of the narrative against the sterile, cherry tunes for which the band was known. Rick Elice examines how contradicting stories from the three living band members lent the show a multi-perspective narrative frame. The show set the standard for jukebox musicals which tell the story of the artists behind the music and led a fleet of such shows to Broadway for decades such as Beautiful and Tina. Rick Elice co-wrote Jersey Boys (winner 2006 Tony Award, 2007 Grammy Award and 2009 Olivier Award for Best Musical) with Marshall Brickman. His play, Peter and the Starcatcher, received nine 2012 Tony Award nominations (including two for Rick) and won five, more than any play of the season. It's currently playing in New York and on tour across North America. Also on Broadway, Elice wrote The Addams Family (with Marshall Brickman, music and lyrics by Andrew Lippa), currently touring North America, with productions in Europe and South America. In 2014, the Old Globe Theatre in San Diego presented the world premiere of his new musical, Dog and Pony (music and lyrics by Michael Patrick Walker). Rick is currently writing a musical for Disney Theatricals with Benj Pasek and Justin Paul, based on the film Make Believe, and Super Fly (co-written with Seth Zvi Rosenfeld), directed and choreographed by modern dance legend, Bill T. Jones. Heartfelt thanks to those whose work in the theatre makes him grateful for the day he was born: Sondheim, Stoppard, Bennett, Prince, Fosse, Robbins, Nichols, Tune, Nunn, Laurents, Stone, Kushner, Taymor, Papp, Schumacher, Schneider, Coyne, Brickman, Timbers and Rees. Rick thinks about them a lot. He never thought about Jersey much. He does now. SOURCES Jersey Boys, Original Cast Recording. Decca Records (2005) Jersey Boys starring Erich Bergen and John Lloyd Young, directed by Clint Eastwood. Warner Brothers (2014) Jersey Boys: The Story of Frankie Valli & The Four Seasons by David Cote, published by Broadway (2007) Learn more about your ad choices. Visit megaphone.fm/adchoices

Westside Story (1962) and Superman (1972) Our first film was a ground breaking musical based on a smash Broadway show, and the other a movie from a very different planet – so what do they have in common?  Both films are the best of their genre – the film musical and comic book superhero and both films brim with star power.   In 1961 our first film stunned audiences with brilliant songs and stunning choreography in a dazzling display of magic – by a team of masters from film and theatre at the top of their game; Bernstein, Sondheim, Laurents, Hal Prince and Jerome Robbins.  Our other film takes us to Metropolis where an unknown theatre actor with insane comic timing and drop dead good looks – was picked to have the lead over Marlon Brando and Gene Hackman – you might want to keep your seat belt buckled for this one as we take flight with my wingman, actor-producer and cinephile, the ever-buckled up and ready for action, John Schwab… so let's go to the movies. Check out our page on this episode here!

En CLÁSICOS GARRIDO hablamos, con el gran Alberto Garrido, de WEST SIDE STORY, considerado por muchos, el mejor musical de Broadway y de la Historia del Cine. Lo analizamos, desde cómo surge la idea, con base en el ROMEO Y JULIETA de Shakespeare, y cómo se convierte, primero, en el musical teatral mítico de 1957; hasta cómo ese musical se adapta a la gran pantalla por Robins y Wise en 1961 y, décadas después, por Spielberg, en 2021. Hablamos de sus creadores: Robins (director y coreógrafo), Bernstein (músico), Sondheim (letrista de las canciones) y Laurents (autor del libreto). Os contamos, como siempre, mil anécdotas, curiosidades, pinchamos la música, y, a lo mejor, hasta nos animamos a echar unos gorgoritos, quien sabe... En resumen, el mejor especial integral (en dos partes) que sobre WEST SIDE STORY puedas escuchar. S04E20-Programa nº 130 INVITADO: Alberto Garrido, crítico especialista en cine clásico DIRIGE, REALIZA Y PRESENTA Harry Callahan Emitido por Radio La Isla el 09 de marzo de 2022. Gracias por escucharnos. Si te gustó ¡danos un like, comenta, comparte! ¡¡¡¡¡¡¡¡Mariiiiaaaaaa!!!!!

Happy Valentine's Day! Patrick has been very excited to see the new West Side Story, because he loves both the 1961 film and the stage version, but then Lolo said she wasn't sure she's ever seen it at all!!! And you know what that means - this week on First Timers Movie Club Patrick and Lolo watch the original West Side Story. Listen as they discuss one of the most winning-est films the Academy Awards has ever seen, compare this reimagining of the classic Shakespeare with the play that inspired it; “Romeo and Juliet”, discuss the changes made bringing this musical from stage to screen as well as hear Patrick's list of sitcom recommendations and a grievance he has with the film industry in this moment. REMINDER: We are no longer going to be posting the podcast to YouTube! You will still be able to listen to it on our website and any other podcast platform. New episodes of First Timers Movie Club come out every other Friday so click SUBSCRIBE and rate us five stars to make sure you don't miss our next episode!Become a Patreon today for access to exclusive episodes here: www.patreon.com/ixfilmproductionsHave a favorite (or least favorite) famous movie that you think we should've seen? Reach out to IX Film Productions on Twitter, Instagram or email and we'll add it to our list!Follow IX Film Productions for podcast updates, stand up comedy, original web shorts and comedy feature films at:Facebook: www.facebook.com/ixfilmproductionsTwitter: www.twitter.com/ixproductionsInstagram: @IXProductionsYouTube: www.youtube.com/ixfp"First Timers Movie Club" is brought to you by IX Film Productions."Making the World a Funnier Place one Film at a Time"MusicThe Curtain Rises by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5007-the-curtain-risesLicense: http://creativecommons.org/licenses/by/4.0/

Welcome to our multi-character episode! Next week we'll be talking about the production, but first I need to introduce you to a few more people; book writer Arthur Laurents, set designer Oliver Smith, and producer Hal Prince.

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.11.09.374173v1?rss=1 Authors: Mompean, M., Trevino, M. A., Laurents, D. V. Abstract: Intrinsically disordered proteins (IDPs) play essential roles in regulating physiological processes in eukaryotic cells. Many virus use their own IDPs to hack these processes to disactive host defenses and promote viral growth. Thus, viral IDPs are attractive drug targets. While IDPs are hard to study by X-ray crystallography or cryo-EM, atomic level information on their conformational perferences and dynamics can be obtained using NMR spectroscopy. SARS-CoV-2 Nsp2 interacts with human proteins that regulate translation initiation and endosome vesicle sorting, and the C-terminal region of this protein is predicted to be disordered. Molecules that block these interactions could be valuable leads for drug development. To enable inhibitor screening and to uncover conformational preferences and dynamics, we have expressed and purified the 13C,15N-labeled C-terminal region of Nsp2. The 13C{beta} and backbone 13CO, 1HN, 13C and 15N nuclei were assigned by analysis of a series of 2D 1H-15N HSQC and 13C-15N CON as well as 3D HNCO, HNCA, CBCAcoNH and HncocaNH spectra. Overall, the chemical shift data confirm that this region is chiefly disordered, but contains two five-residue segments that adopt a small population of {beta}-strand structure. Whereas the region is flexible on ms/ms timescales as gauged by T1{rho} measurements, the {1H}-15N NOEs reveal a flexibility on ns/ps timescales that is midway between a fully flexible and a completely rigid chain. Copy rights belong to original authors. Visit the link for more info

Laurents Gomgom Parmonangan, @laurentsgomgom, Orang muda katolik yang berkecimpung di dunia IT sebagai feeelancer. Aktif dalam pelayanan di komsos Keuskupan Agung Jakarta.

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.07.30.229062v1?rss=1 Authors: Mompean, M., McAvan, B. S., Felix, S. S., Trevino, M., Oroz, J., Pantoja-Uceda, D., Cabrita, E. J., Doig, A. J., Laurents, D. V. Abstract: Many intrinsically disordered proteins contain Gly-rich regions which are generally assumed to be disordered. Such regions often form biomolecular condensates which play essential roles in organizing cellular processes. However, the bases of their formation and stability are still not completely understood. Considering NMR studies of the Gly-rich H. harveyi "snow flea" antifreeze protein, we recently proposed that Gly-rich sequences, such as the third "RGG" region of Fused in Sarcoma (FUS) protein, may adopt polyproline II helices whose association might stabilize condensates. Here, this hypothesis is tested with a polypeptide corresponding to the third RGG region of FUS. NMR spectroscopy and molecular dynamics simulations suggest that significant populations of polyproline II helix are present. These findings are corroborated in a model peptide Ac-RGGYGGRGGWGGRGGY-NH2, where a peak characteristic of polyproline II helix is observed using CD spectroscopy. Its intensity suggests a polyproline II population of 40%. This result is supported by data from FTIR and NMR spectroscopies. In the latter, NOE correlations are observed between the Tyr and Arg, and Arg and Trp side chain hydrogens, confirming that side chains spaced three residues apart are close in space. Taken together, the data are consistent with a polyproline II helix, which is bent to optimize interactions between guanidinium and aromatic moieties, in equilibrium with a statistical coil ensemble. In cells, the polyproline II population of these peptides could be augmented by binding profilin protein or SH3, WW or OCRE domains, association with RNA or assembly into polyproline II helical bundles. These results lend credence to the hypothesis that Gly-rich segments of disordered proteins may form polyproline II helices which help stabilize biomolecular condensates. Copy rights belong to original authors. Visit the link for more info

Arthur Laurents (1917-2011), interviewed on April 7, 2000 by Richard Wolinsky and Richard A. Lupoff, during the tour for his memoir, Original Story By … Arthur Laurents was one of the giants of American culture. A playwright, librettist and director, he was one of the collaborators on two of the greatest musicals in the history of Broadway, West Side Story and Gypsy. In Hollywood, he was best known for the screenplays to The Way We Were and The Turning Point. He spent most of World II in New York, working on propaganda films under George Cukor, A playwright with a huge hit after the war, The Time of the Cuckoo (which became the Katharine Hepbutn film Summertime), Laurents then moved to Hollywood where his career as a screenwriter was interrupted by the blacklist. He went to Europe but returned to write the screenplay for the Ingrid Bergman film, Anastasia. Coming back to New York, he collaborated with Jerome Robbins, Leonard Bernstein and Stephen Sondheim on West Side Story, then with Sondheim and Jule Styne on Gypsy. He also wrote the libretto for Jerry Herman's hit, La Cage Aux Folles. Along the way, he continued to write plays and direct. His final two years saw two new plays and, at the age of 92, he directed a successful revival of West Side Story. Arthur Laurents Wikipedia page. Left: the creative team for West Side Story. Center: Richard Rodgers, Arthur Laurents and Stephen Sondheim working on the ill-fated musical “Do I Hear a Waltz?” based on Laurents' play “The Time of the Cuckoo.” Right: Poster for the original production of “West Side Story.” The post Playwright Interview: Arthur Laurents, 2000 appeared first on KPFA.

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.06.02.129783v1?rss=1 Authors: Ramirez de Mingo, D., Lopez-Garcia, P., Hervas, R., Laurents, D. V., Carrion-Vazquez, M. Abstract: The cytoplasmic polyadenylation element-binding protein 3 (CPEB3), is an RNA-binding protein which in its soluble state is localized in membraneless neuronal RNA granules keeping target mRNAs in a repressed state. The stimulus-dependent aggregation of CPEB3 activates target mRNAs translation, a central event for the maintenance of long-term memory-related synaptic plasticity in mammals. To date, the molecular determinants that govern both connected events remain unclear. Here, to gain insight into these processes, the biophysical properties of the human CPEB3 (hCPEB3) are characterized. We found that hCPEB3 homotypic condensation is mainly driven by hydrophobic interactions and occurs under physiological conditions. Moreover, hCPEB3 biomolecular condensates are dynamic inside living cells, whose localization and stabilization are mediated by its RNA-recognition domains. In contrast, the hCPEB3 polar N-terminal region is crucial for hCPEB3 amyloid-like aggregation in vitro, which is disrupted by the polyglutamine binding peptide 1 (QBP1), A{beta}42 seeds and Hsp70, highlighting the importance of the Q4RQ4 tract as well as the hydrophobic residues for hCPEB3 functional aggregation. Based on these findings, we postulate a model for the role of hCPEB3 in memory persistence that advances a rather sophisticated control for hCPEB3 condensate dissociation and amyloid-like formation to achieve its physiological function. Copy rights belong to original authors. Visit the link for more info

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.05.19.103804v1?rss=1 Authors: Hervas, R., Fernandez-Ramirez, M. d. C., Galera-Prat, A., Suzuki, M., Nagai, Y., Bruix, M., Menendez, M., Laurents, D. V., Carrion-Vazquez, M. Abstract: Functional amyloids are present in a wide variety of organisms ranging from bacteria to humans. Experience-dependent aggregation of the cytoplasmic polyadenylation element-binding (CPEB) prion-like protein to a translationally active state has emerged as a plausible biochemical substrate of long-lasting memories. CPEB aggregation is driven by prion-like domains (PLD) that are highly divergent in sequence across species. Here, we describe the amyloid-like features of the neuronal Aplysia CPEB (ApCPEB) PLD in vitro using single-molecule and bulk biophysical methods and compare them with those previously reported for neuronal Drosophila CPEB, Orb2 PLD. The existence of transient oligomers and mature filaments suggests similarities in the late stages of the assembly pathway for both PLDs. However, while prior to aggregation the Orb2 PLD monomer remains as a random coil in solution, ApCPEB PLD adopts a diversity of conformations comprising -helical structures that evolve to coiled-coil species, suggesting structural differences at the beginning of their amyloid assembly pathways. Our results show how divergent PLDs of CPEB proteins from different species retain the ability to form a generic amyloid-like fold through different assembly mechanisms. Copy rights belong to original authors. Visit the link for more info

Normalerweise sitzt Laurents als Profi-Rennfahrer so oft wie möglich hinter dem Steuer eines Rennboliden - seit 2020 sogar in der Langstrecken-Weltmeisterschaft FIA WEC in einem Porsche 911 RSR. Doch momentan ist an aktiven Rennsport nicht zu denken. Deshalb wollen wir mit ihm sprechen über seine momentane Gefühlslage, den E-Sport als Alternative und die Auswirkungen von Corona auf seine Karriere.

Quatrième émission de la saison 2 de Powercast en compagnie de Manu et Benjamin de la chaîne Crème Fraîche (https://www.youtube.com/channel/UCi5jGm21jdOi2m9vM3DIcNQ). On revient avec eux sur l'année 2019 et on réalise la première édition de la cérémonie des Laurents d'Or.Si vous voulez nous écouter en direct, ça se passe là : https://twitch.tv/turborire2000 ou https://mixer.com/turborire2000 Bon j'ai oublié de rajouter un beat pendant le "Qu’est ce que tu répondrais toi si je te demandaisde choisir entre deux propositions ?" désolé...

Amanda Green is a Tony-nominated lyricist/composer. She is the recipient of the 2013 Frederic Loewe Award from the Dramatists Guild (with collaborator Trey Anastasio) for her music for Hands On A Hardbody (lyricist; co-composer), one of two new musicals she premiered on Broadway in the 2012-2013 season. She also co-wrote the lyrics for Bring It On (currently on its second National Tour). For her work on Hands she was nominated for a Tony Award, Two Drama Desk Awards (music, lyrics) and an Outer Critics Circle Award. She was nominated for a third Drama Desk Award the same year for her lyrics (with Lin Manuel Miranda) for Bring It On. Also on Broadway:High Fidelity (lyrics). NY and regional credits: Stars of David (original songs; 2013; DR2 Theater). Arthur Laurents asked her to write additional lyrics for the revival ofHallelujah Baby (Arena Stage, directed by Mr. Laurents). For The Love Of Tiffany: A Wifetime Original Musical (lyricist, co-star; NY Fringe Festival). “Put A Little Love In Your Mouth! The Songs Of Amanda Green” (Second Stage Theater, Joe’s Pub); Up The Week Without A Paddle (2001 LADCC Nomination (Best Score), Backstage's Garland Award (Best Score). She is also an award-winning performer (2 MAC Awards, BISTRO Award) who performs her work, along with Broadway stars, in concerts everywhere from Carnegie Hall to Birdland to The Bluebird Café in Nashville. She has acted in musicals on Broadway and regionally, including originating the role of “Gary Coleman” in Avenue Q at The O’Neill Center. Legendary guitarist Trey Anastasio performs songs he and Amanda have co-written in arena concerts around the country with his bands PHISH and TAB. Other Awards: The Jonathan Larson Award, The Songwriter’s Hall of Fame Abe Olman Award. TV: The Wonder Pets. BMI Musical Theater Workshop, Alumni; B.A. Brown University; Dramatists Guild member.

There is perhaps no more iconic musical than West Side Story. The team of Bernstein, Sondheim, Laurents, and Robbins collaborated on a show that combined humor and menace and love and violence in a way that revolutionized the stage. The film adaptation of the musical won 11 Academy Awards. But, in my opinion, what drives West Side Story is the scintillating score from Leonard Bernstein. Today we explore the Symphonic Dances, a suite put together for the concert stage. We'll talk shofars, tritones, and more!

Brantley, Ben. “Again, for the First Time.” The New York Times, 1 June 2008. Brantley, Ben. “Come Back, Little '50s, Even With the Clouds.” The New York Times, 24 Feb. 2008. Isherwood, Charles. “Two Helpings of Pie From Broadway's Fridge.” The New York Times, 23 Mar. 2008. Simonson, Robert. “'South Pacific'.” The New York Times, 1 June 2008. Rich, Frank. “Memorial Day at 'South Pacific'.” The New York Times, 25 May 2008. The Editorial Board. “'South Pacific': Some Enchanted Quagmire?” The New York Times, 11 Apr. 2008. Bloom, Lary. “1949 Show Is Timely for 2008.” The New York Times, 6 Apr. 2008. Brantley, Ben. “Optimist Awash in the Tropics.” The New York Times, 4 Apr. 2008. Isherwood, Charles. “The Ingénue Who Roared.” The New York Times, 18 May 2008. Green, Jesse. “Let Her Entertain You. Please!” The New York Times, 8 July 2007. Brantley, Ben. “What Ever Happened to Momma Rose?” The New York Times, 16 July 2007. Isherwood, Charles. “Patti's Turn, If Not Always Rose's.” The New York Times, 5 Aug. 2007. Mcgee, Celia. “Sing Out, Laura. It's Your Turn.” The New York Times, 23 Mar. 2008. Lahr, John. “Mother Load.” The New Yorker, 2 Aug. 2017. McElroy, Steven. “Citing Economy, 'Gypsy' to Close Earlier.” The New York Times, 15 Dec. 2008. Brantley, Ben. “Down by the Blue Purple Yellow Red Water.” The New York Times, 22 Feb. 2008. Robertson, Campbell. “Connecting Philosophy, Sondheim and Seurat.” The New York Times, 28 May 2008. Brantley, Ben. “As Seen on TV! Danny and Sandy 4-Ever and Ever.” The New York Times, 20 Aug. 2007. Robertson, Campbell. “For This Broadway Musical, the Casting Agents Are TV Viewers.” The New York Times, 6 Jan. 2007. Laurents, Arthur. Mainly on Directing: Gypsy, West Side Story, and Other Musicals. Alfred A. Knopf, 2009. LuPone, Patti. Patti Lupone: a Memoir. Harmony Books, 2010.

Filichia, Peter. Broadway Musicals: The Biggest Hit & the Biggest Flop of the Season 1959 to 2009. Applause Books, 2010. Mordden, Ethan. Open a New Window: the Broadway Musical in the 1960s. Palgrave Macmillan, 2002. Mandelbaum, Ken. Not since Carrie: Forty Years of Broadway Musical Flops. St. Martin's Press, 1992. Viertel, Jack. Secret Life of the American Musical: How Broadway Shows Are Built. Sarah Crichton Books,Farrar, Straus and Grioux, 2017. Lambert, Philip. To Broadway, to Life!: the Musical Theater of Bock and Harnick. Oxford University Press, 2012. Kissel, Howard. David Merrick, the Abominable Showman: the Unauthorized Biography. Applause, 1993. Bryer, Jackson R., and Richard Allan. Davison. The Art of the American Musical: Conversations with the Creators. Rutgers University Press, 2005. Bloom, Ken, and Frank Vlastnik. Broadway Musicals: the 101 Greatest Shows of All Time. Black Dog & Leventhal Pubs., 2010. Lahr, John. Notes on a Cowardly Lion the Biography of Bert Lahr . Bloomsbury, 1992. Simon, Neil. Neil Simon’s Memoirs: Rewrites and The Play Goes On. Simon & Schuster, 2017. Kissel, Howard. David Merrick, the Abominable Showman: the Unauthorized Biography. Applause, 1993. Taubman, Howard. “Theater: 'She Loves Me,' a Musical; Play by Miklos Laszlo Opens at the O'Neill.” The New York Times, 24 Apr. 1963. Swope, Martha, Thomas Buckley, and Werner J. Kuhn. “PRINCE VS. PRINCE Producer-Director of ‘She Loves Me’ Discusses His Dual Assignment.” The New York Times, 21 Apr. 1963. Taubman, Howard. “Theater: '110 in the Shade'; Musical 'Rainmaker' Is at Broadhurst.” The New York Times, 25 Oct. 1963. “'110 In the Shade' Receives Mixed Notices in Boston.” The New York Times, 12 Sept. 1963. Taubman, Howard. “Theater: 'Girl Who Came to Supper' in Premiere; Jose Ferrer Is Star of Musical at Broadway Tunes and Lyrics Are Work of Noel Coward.” The New York Times, 9 Dec. 1963. Taubman, Howard. “Theater: Bert Lahr, Northern Volpone; 'Foxy' at Ziegfeld Is Set in Gold‐Rush Yukon.” The New York Times, 17 Feb. 1964. Atkinson, Brooks. “Critic at Large; Bert Lahr Reaches Peak of His Career as a Wildly Comic Actor in 'Foxy'.” The New York Times, 20 Mar. 1964. Taubman, Howard. “The Theater: 'Anyone Can Whistle'; Musical at Majestic Is About Madness; Book by Laurents and Music by Sondheim.” The New York Times, 6 Apr. 1964. Taubman, Howard. “Theater: 'Luther' Stars Albert Finney; John Osborne Drama Is at the St. James.” The New York Times, 26 Sept. 1963. Taubman, Howard. “Theater: Alec Guinness as 'Dylan'; Play About Welsh Poet Opens at Plymouth.” The New York Times, 20 Jan. 1964. Longworth, Karina. “Barbara Loden (Dead Blondes Episode 12).” You Must Remember This, 18 Apr. 2017.

Deutscher Sieg im wichtigsten Rahmenrennen vor den 24 Stunden von Le Mans. Der 21-jährige Stuttgarter Laurents Hörr gewinnt den Lauf zur Road to Le Mans – eine Rennserie mit LMP3- und GT3-Boliden, die sonst im Vorprogramm der Europäischen Le Mans-Serie stattfindet. Der Auftritt am Mittag vor dem Langstreckenklassiker in Frankreich ist der wichtigste Auftritt für die Straßenkämpfer. Und ausgerechnet da setzt sich Hörr eindrucksvoll in Szene – ein Fahrer, von dem in Deutschland bislang nur echte Insider etwas gehört haben. Höchste Zeit, den erfolgreichsten Deutschen in Le Mans 2019 kennenzulernen – im großen Siegerinterview unmittelbar vor dem Start der 24 Stunden.

Deutscher Sieg im wichtigsten Rahmenrennen vor den 24 Stunden von Le Mans. Der 21-jährige Stuttgarter Laurents Hörr gewinnt den Lauf zur Road to Le Mans – eine Rennserie mit LMP3- und GT3-Boliden, die sonst im Vorprogramm der Europäischen Le Mans-Serie stattfindet. Der Auftritt am Mittag vor dem Langstreckenklassiker in Frankreich ist der wichtigste Auftritt für die Straßenkämpfer. Und ausgerechnet da setzt sich Hörr eindrucksvoll in Szene – ein Fahrer, von dem in Deutschland bislang nur echte Insider etwas gehört haben. Höchste Zeit, den erfolgreichsten Deutschen in Le Mans 2019 kennenzulernen – im großen Siegerinterview unmittelbar vor dem Start der 24 Stunden.

In diesem Interview mit Motivationstrainer Laurent Kalmes erfährst Du unter anderem... den Unterschied zwischen Bewertern und Verwertern, wie Laurent es geschafft hat, den Schock der Diagnose "Multiple Sklerose" zu verarbeiten und die Kontrolle über sein Leben zurückzugewinnen, die 3 besten Tipps, um Menschen zu motivieren bzw. die Herzen Deiner Zuhörer zu gewinnen, die 3 häufigsten Fehler, die Trainer und Coaches machen und damit die Stimmung auf einen Tiefpunkt bringen sowie wie das Gesetz der Anziehung funktioniert und Du es für Dich im Leben anwenden kannst.    Neugierig?    Dann wünsche ich Dir viel Spaß beim Anhören der heutigen Interviewfolge.    ---   Wer ist Laurent Kalmes? Laurent ist 30 Jahre jung, Motivationstrainer, Speaker, Podcaster und Buchautor. Er hat mit 21 Jahren die schockierende Diagnose - Multiple Sklerose - erhalten. Nachdem er sich beinahe das Leben genommen hatte, hat Laurent die Kehrtwende in seinem Leben geschafft und konnte nicht nur den Krankheitsverlauf stoppen, sondern schaffte es auch wieder aus dem Rollstuhl heraus.    ---   Laurents 3 besten Buchtipps:   Empfehlung Nr. 1:   Der Pfad des friedvollen Kriegers: Das Buch, das Leben verändert - Dan Millman https://goo.gl/p7a4j8 --- Empfehlung Nr. 2: Go Pro: 7 Schritte zum Network Marketing Profi https://amzn.to/2Oy5Z0Z   --- Empfehlung Nr. 3: Rich Dad Poor Dad: Was die Reichen ihren Kindern über Geld beibringen - Robert T. Kiyosaki https://amzn.to/2yN195j      ---   Du möchtest mehr über Laurent Kalmes erfahren? Dann besuche ihn... auf seiner Webseite: http://www.laurent-speaking.com/  --- auf Facebook: https://www.facebook.com/laurent.kalmes.1  --- auf Instagram: https://www.instagram.com/laurent.kalmes/?hl=de  --- oder schau Dir sein Webinar an unter:  https://youtu.be/8cuy56QMsuA  --- Du möchtest gerne lieber direkt Kontakt mit Laurent aufnehmen?  Dann schreib Ihm eine Mail an: lk@laurent-kalmes.de    ---   Sichere Dir jetzt Dein Gratis-Geschenk! Falls Dir das Interview gefallen hat, nimm Dir bitte eine Minute Zeit und hinterlasse eine kurze Bewertung auf iTunes und teile eine beliebige Podcastfolge in den sozialen Netzwerken.  Auf diese Art und Weise hilfst Du mir dabei, dass dieser Podcast für deutlich mehr Menschen sichtbar wird und unsere zwischenmenschliche Beziehungen zukünftig wieder auf Ehrlichkeit, Wertschätzung und Vertrauen aufbauen!  Als Dank dafür erhältst Du mein Hörbuch "Universelles Vertrauen" im Wert von 24,97 € geschenkt* als kostenfreie MP3-Datei zum Download! Damit ich Dir diese zukommen lassen kann, schicke mir bitte eine Mail mit dem Screenshot Deiner Bewertung bzw. Deines geteilten Beitrags an info@educationscout24.com!    *Diese Aktion ist auf die ersten 100 Personen begrenzt, die mir eine Rezension auf iTunes hinterlassen.    ---   So wirst Du zum einzigartigen Vorbild in punkto Vertrauen:   Power-Trust-News:   Falls Du sämtliche Fragen aus dem Podcast nochmals einfach und bequem per E-Mail erhalten  möchtest, dann abonniere Dir jetzt die „Power-Trust-News“ auf   https://bit.ly/2HXrwxk   Hierbei handelt es sich um den passenden Newsletter* zum Podcast.   Als Dank für Deine Anmeldung schenke ich Dir mein kostenfreies E-Book "Power-Vertrauen": Wie Du in nur 5 Minuten 7 fatale Fehler beim Vertrauensaufbau vermeidest und so magnetisch mehr Umsatz, mehr Gewinn und mehr Zeit anziehen kannst!   * Dieser Newsletter ist für Dich kostenfrei und jederzeit wieder abbestellbar.   ---    Buch: „Universelles Vertrauen“:   Falls Du Deine Probleme, Ängste und Sorgen an der Wurzel packen und lösen möchtest, dann empfehle ich Dir mein Buch „Universelles Vertrauen“ – Wie Du durch unerschütterliches Selbstvertrauen das Vertrauen anderer (zurück-) gewinnst…   Mit diesem Buch ersparst Du Dir nicht nur zahlreiche enttäuschende Erlebnisse, weil Du insgesamt 31 Verhaltensweisen kennenlernst, die Vertrauen schaffen, sondern Du sparst Dir zusätzlich unglaublich viel Zeit ein, weil Du Schritt für Schritt erklärt bekommst, anhand welcher Verhaltensweisen Du Dein eigenes Selbstvertrauen aufbauen bzw. stärken kannst.   Das Buch* findest Du derzeit exklusiv auf meiner Homepage auf   https://bit.ly/2SuOHmU --- Hörbuch: "Universelles Vertrauen" Falls Du viel unterwegs bist und Dir das Buch "Universelles Vertrauen" lieber zunächst anhören möchtest, dann kannst Du es Dir unter nachfolgendem Link auch als Hörbuch* bestellen.  https://educationscout24.com/universelles-vertrauen-hoerbuch/  * Die ersten 500 Besteller des Hörbuchs erhalten mit dem nachfolgenden Gutschein 50 Prozent Rabatt auf das Hörbuch "Universelles Vertrauen": Dein Rabatt-Code lautet: „Hoerbuch_50“.

Låt mig ta er med till en natt i New York. Den 26 september har just övergått i den 27:e. Året är 1957. På restaurang Sardi's är det nervöst. Per Feltzin om Leonard Bernsteins musikal West Side Story. Alla är där: tonsättaren, koreografen, sångarna, dansarna - alla. Man småpratar och väntar på morgontidningarna. Trots publikens stora jubel och vännernas ryggdunkningar vet alla att det är kritikernas ord som avgör om en uppsättning på Broadway överlever. Så kommer morgontidningarna och de börjar läsa Herald Tribune där den mest fruktade kritikern finns. Det börjar inte bra, men det tar sig. Och sen kommer några rader som kommer att leva kvar länge: "Jag har sett den mest vilda, rastlösa, elektriska dansen på ett drygt decennium. Den radioaktiva strålningen från West Side Story sänker sig fortfarande ner över Broadway denna morgon." Reaktionerna på Leonard Bernsteins West Side Story var med några få undantag positiva. Redan då talade man om en milstolpe i musikdramatikens historia. Pressen skrev att Broadway hade fått tillbaka sin mognad med West Side Story. Även om ämnet i sig inte var en skönhetsupplevelse, så var det som att West Side Story förvandlade ämnet till en upplevelse av just skönhet. Den mest betydelsefulla kritikern fanns på New York Times. Han kallade den "en djupt rörande föreställning... just så ful som storstadsdjungeln är och också gripande, öm och förlåtande." Ser vi bara till berättelsen, en modern tolkning av Romeo och Julia, har den djup, komplexitet och känslighet. Musikalen har till och med vågat sig på att delvis följa Shakespeares tragiska slut. Det är något mycket ovanligt i USA, och här lät man båda akter sluta med döda ungdomar på scenen. Det var inte den första musikalen med ett allvarligt socialt tema, men ett av de första, där samtiden fanns på scenen. Seriösa ämnen hade man oftast placerat på ett behagligt avstånd i tiden, men i West Side Story fick man se de riktiga tonårsgängen. Här var det New Yorks invandrade puertorikaner, Sharks, som mötte de tuffa amerikanarna, Jets. På 50-talet var det här mest ett problem för de riktigt stora västerländska städerna. I dag angår det många fler. Men i musiken hörde man redan då samma ambivalens hos de som kommit från de fattiga öarna som vi hittar i dag. Ska man stanna kvar eller vända tillbaka? När det gäller att spegla samtiden eller samtidsproblem på scen, finns det inget som så fort blir helt galet. En felaktig betoning, ett felaktigt varumärke eller uttryck gör att berättelsens trovärdighet raseras omedelbart. Detaljkännedomen måste vara hundra procentig. Just West Side Story tycks nästan alltid undgå den brutala desarmeringen. Den lever lika mycket och väl, oavsett vilken miljö den placerats i och oavsett vilken tid vi själva ser den i. Men det ställs mycket höga krav på de som ska vara på scenen. Sång och dans i en musikal var förstås inte ovanligt, men det nya var att samma aktörer här skulle kunna sjunga, dansa - och agera. Jerome Robbins avancerade koreografi var dessutom mycket mer än instoppade dansstycken, den var en del av dramatiken och förde ofta handlingen framåt. Förutom de äldre i musikalen, och till viss del också huvudrollerna Tony och Maria, krävdes att alla skulle kunna dansa - och kunna dansa bra! Den stora betydelse som dansen har för West Side Story gör den fortfarande unik. Sångerna och danserna är lika viktiga för handlingen. Den koreografi som Robbins skapade då, 1957, är nu en grundsten i modern dans. En intressant detalj i Robbins arbete med dansarna och sångarna var att han hade hållit Jets och Sharks åtskilda under arbetet på scenen och på fritiden. Sångtextförfattaren Stephen Sondheim kommenterade: "Jag tyckte först att det var pretentiöst, men naturligtvis var det perfekt. Utan någon som helst agg eller fientlighet, hade Robbins givit de två gängen varsin känsla av individualitet. Vi fick direkt två väldiga personligheter på scenen". Men naturligtvis skulle ingen komma ihåg berättelsen om inte musiken fanns. Leonard Bernstein har skapat en dramatiskt fungerande musik som samtidigt är lätt att omedelbart tycka om och sjunga. Maria, Tonight och Somewhere är väl sånger som närmast blivit folkmelodier, var mans egendom. Sen finns I feel pretty, America, A boy like that och danserna: Mambon, Cool och den spefulla Gee, Officer Krupke. Det är en pärlrad av nio sånger som många av oss känner igen efter bara några toner. Librettisten Arthur Laurents berättade att musiken bara flöt ur Bernstein. Han tycktes inte tänka. Han kunde konsten att förvandla den speciella folkliga New Yorkska musiken till något annat än pastisch. Och han kunde ge varje person sin egen musikaliska karaktär, menade Laurents. Bernstein ville, med egna ord, "skapa en otrolig blandning av det abstrakta och det realistiska, poesi och prosa - både och - och ändå inget av det." Det anmärkningsvärda var att Bernstein skrev West Side Story parallellt med operamusikalen Candide. One hand, one heart var ursprungligen en duett som Candide och Kunigunda skulle sjunga och Gee, Officer Krupke fanns med i Venedigscenen i Candide. Utbyteshandeln gick åt det andra hållet också. Candide fick delar av det som inte fungerade i West Side Story. Man kan också hitta förändringar under vägen. Inledningen på West Side Story var först ett militant aggressivt stycke, där både Jets och Sharks sjöng. Sedan skrevs i stället Prologen där också gängen möttes, men nu till ljudet av, som Bernstein beskrev det, "miljoner ord med vansinnigt snabb musik". Senare togs orden bort och vi fick den inledning vi har i dag, med bara en vissling och det rytmiska knäppandet med fingrarna. Jag slutar den här Klassikern med en syn från Markusplatsen i Venedig några år efter premiären 1957. Bernstein och några vänner promenerar in på Piazzan och som genom en osannolik tillfällighet börjar flera av de små musikkapellen samtidigt spela Maria. Bernstein skrattar och börjar buga sig mot folk runt omkring, men ingen känner igen honom. Det var då det. Det skulle bli annorlunda. Per Feltzin per.feltzin@sverigesradio.se Samtliga musikexempel är från filmmusikinspelningen 1960. Källor: Ögonvittnesbeskrivningar och böcker - bland andra Meryle Secrests Leonard Bernstein - A life på Alfred A. Knopf och Humphrey Burtons Leonard Bernstein på Faber and Faber. Det finns en otrolig mängd inspelningar och ljud- och filmklipp från West Side Story att köpa och se på nätet, men jag kan inte låta bli att rekommendera en enda kort svartvitt film från 60-talet. Det är Sammy Davis, Jr och slagverkaren Johnny Mendoza som gör ett medley. Fem minuter och femtio sekunder musikalitet. Länken är en av flera och deras samarbete finns också på album.

Sitting with veteran entertainment journalist Bobby Rivers, is always a fun lesson of TV/Movie history, and when you add comedian/theater journalist, Keith Price, to the conversation, more laughs and knowledge ensue. In this episode of MOCHAA, Bobby and Keith, talk about the iconic stage and film musical, GYPSY. They somehow segue into paying homage to the grand theater diva, Patti Lupone http://www.pattilupone.net/ , and with the announcement of the Steven Speilberg remake of another classic movie musical, WEST SIDE STORY, https://www.nytimes.com/2018/01/26/movies/west-side-story-steven-spielberg-tony-kushner.html . Of course, Bobby and Keith do have a few casting choices that Mr. Spielberg should consider. More on BobbyRivers: http://www.bobbyriverstv.blogspot.com On Twitter: https://twitter.com/MOCHAAwithBobby https://twitter.com/BobbyRiversTV https://twitter.com/kpcurtaincall https://twitter.com/comedydaddy Facebook: https://www.facebook.com/BobbyRiversPodcast/?ref=br_rs

Moab and Vicinity If flying, landing in Grand Junction is a consideration. It’s about at 110 mile 2 ¼ to Moab via scenic route 128.  Along the way you can stop at Fisher Towers – site of several John Wayne/John Ford movies. Drive by photo-ops or take a short hike. About an hour outside of Moab is Dead Horse Pt State Park. It has a drive to a dramatic overlook of the Colorado River Vista where the river does a 180 hairpin turn.  Best shooting time is just be before sunrise or late in the day.  Definitely take some wide angle shots.  Arches Main Rd through Arches takes you to most of the iconic locations Park Avenue, Courthouse Towers, Petrified Dunes, Balanced Rock, Garden of Eden, The Windows, Turret Arch, and Fiery Furnace, among others. Since shooting near the car, take any equipment you wish. Generally, better shooting times are early or late in the day or with nice blue skies with good clouds. Arches off the Beaten Path  A really nice hike is the Devils Garden Trail and Dark Angel Extension You see a number of arches that are not otherwise accessible including Landscape Arch (longest in world), Partition Arch, Navajo Arch, Double O Arch, and of course, the Dark Angel monolith. You can walk over a series of fins which is cool.The trail is sandy, rocky in places, and can be hot.  Take water and snacks.  There is not a lot of elevation change for the 7 1/2 mile hike. The trail begins at the end of the park road at the Devils Garden Trail Head. Arches Night Shooting For those interested Milky Way and Star backgrounds: Balanced Rock North Window Turret Arch General settings with a wide fast prime lens like a 20 or 24mm F1.8. ISO about 2500.  Exposure about 1/25 or 1/20 to stars streaking.  Tripod is a must.  If no moonlight, consider light painting.  After night shooting, a sunrise shot opportunity Turret Arch through the North Window Need a head lamp or flash light. Small tripod helpful, be ready because light changes quickly. Could boost the ISO and shot hand held as an alternative.   Arches - Delicate Arch Sunset Catches best light before sunset in the Winter and early Spring, later in the year, deep shadows on the arch take away from the scene View of the Arch bathed in warm light with the La Sal mountains in the background Arrive early enough to claim prime spot on the ledge The 1 1/2 mile trail (one way) begins at Wolf Ranch just about 1 mile drive off the main park rd. A moderate zoom in the 24-70, 24-120 range works well  to capture the vista Begin the walk about 1 ½ to 2 hrs before sunset. Absolutely have a wide beam flash light for the walk back.  Canyonlands – 3 large sections; Island in the Sky, Needles, and the Maze.  Very primitive areas, minimal facilities, Maze requires 4WD Island in the Sky – two drive to photo-ops Mesa Arch  Awesome sunrise shot. The underside of the arch can look ablaze as it captures morning light reflecting off of the 500ft nearly vertical cliff face below.  The view through the arch into Bucks Canyon is awesome. Good idea to scope out the roughly ½ mile walk from the parking area in daylight in advance of the shoot. Plan to arrive at least ½ hour before first dawn light since the shooting area can be crowed.  This means you will park when it’s dark and walk the trail in the dark. A wide angle lens and tripod are a must. From Moab it’s about a 50 minute (40 mi) drive via 191 N, 313 W, and Grand View Point Rd.  Close to Mesa Arch Continue east on the park road to the Green River Overlook. Laurents suggests this as an afternoon shot.  I don’t see why you can’t combine this with your scouting for the Mesa Arch shot.  Further east on the park road to the Upheaval Dome trail head.  The trail is relatively short with two viewpoints.  You can take these in after the Mesa Arch sunrise. Needles District – Chesler Park Hike Starting at Elephant Hill you can do a ½ day (5 mile) or full day (11 mile) hike through and along the spires. Again take water, snacks, and consider a 24-70 or 24-120 zoom to keep the backpack reasonable. All photos are copyright Bill Naiman. Please respect his copyright!

Arthur Laurents (1917-2011), interviewed on April 7, 2000 by Richard Wolinsky and Richard A. Lupoff, during the tour for his memoir, Original Story By … Arthur Laurents was one of the giants of American culture. A playwright, librettist and director, he was one of the collaborators on two of the greatest musicals in the history of Broadway, West Side Story and Gypsy. In Hollywood, he was best known for the screenplays to The Way We Were and The Turning Point. He spent most of World II in New York, working on propaganda films under George Cukor, A playwright with a huge hit after the war, The Time of the Cuckoo (which became the Katharine Hepbutn film Summertime), Laurents then moved to Hollywood where his career as a screenwriter was interrupted by the blacklist. He went to Europe but returned to write the screenplay for the Ingrid Bergman film, Anastasia. Coming back to New York, he collaborated with Jerome Robbins, Leonard Bernstein and Stephen Sondheim on West Side Story, then with Sondheim and Jule Styne on Gypsy. He also wrote the libretto for Jerry Herman's hit, La Cage Aux Folles. Along the way, he continued to write plays and direct. His final two years saw two new plays and, at the age of 92, he directed a successful revival of West Side Story. This interview was digitized, remastered and re-edited in 2016 by Richard Wolinsky. A shorter version aired on the Arts-Waves radio program. Arthur Laurents Wikipedia page. Left: the creative team for West Side Story. Center: Richard Rodgers, Arthur Laurents and Stephen Sondheim working on the ill-fated musical “Do I Hear a Waltz?” based on Laurents' play “The Time of the Cuckoo.” Right: Poster for the original production of “West Side Story.” The post Arthur Laurents 1917-2011 appeared first on KPFA.

West Side Story—Sondheim, Bernstein and Laurents’ beloved 50s-era street-gang homage to Romeo and Juliet. Few American musicals are as widely loved and as over-performed. Let’s face it, in America, it’s you can’t walk down a city street without seeing at least one poster for some upcoming production of West Side Story. There’s a reason for that, of course. It’s that ‘West Side Story’ is a really, really good show. But it’s not an easy show, and pulling it off requires a remarkable amount of talent, craft and theatrical panache. Which brings us to the Mountain Play, in Mill Valley, where West Side Story runs for three more weekends. Directed by Jay Manley, the sprawling production unfolds with admirable grace and energy, helped along, on opening day, by Mother Nature, dispensing a bit of classic Mountain Play magic. You know the story. Two teenage New Yorkers meet by chance at a tense interracial community dance. Tony is a former-gang member trying to go straight. Maria is a wide-eyed Puerto Rican émigré with dreams of becoming a “young lady of America.” Separated by race and tradition, their forbidden love sets in motion a series of events both hopeful and tragic. Now, for that all-important first-act meet-up to properly work, the audience has to feel the electrifying, fateful connection between and. Hopefully, that electricity will come from the actors. Sometimes it arrives in other ways. On opening day, during the pivotal Tony-meets-Maria moment, a beam of sunlight broke through the low-hanging clouds, suddenly shining directly down on the star-crossed lovers. Dressed all in white, the two literally began to glow as we all watched them fall in love before our eyes. That’s the kind of unplanned trick of nature that puts the Mountain Play amongst the most popular annual theatrical events of the summer. Spectacle, as usual, is a big part of the draw too. Director Manley certainly pulls that off, with an amazing set giving us New York streets-and-alleys painted in moody purple, with random streaks of lamplight painted across the stage, approximating the feel of evening in the city. The tale bursts into action with an athletic cast invading the stage, beautifully dancing and fighting their way through the famous opening succession of Sharks vs. Jets skirmishes. Aided by a first-rate orchestra under the direction of David Möschler, excellent choreography by Nicole Helfer and nifty fight-work by Zoe Swenson-Graham, the dangerous romanticism of “West Side Story” unfolds with maximum visual power. As Maria, a strong-voiced Lym brings all the fiery giddiness one could hope for, and though Lee is much too old to play the teenage Tony, his full, operatic singing finds every scrap of melody in the gorgeous songs he sings. The rest of the cast, particularly Zachary Isen as reckless Jets leader Riff, David Crane as the simmering Sharks leader Bernardo, and Erica Lamkin as his girlfriend Anita, are all very good. Whether or not the sun makes the same dazzling appearance in every performance, the cast and technicians bring plenty of their own light and emotional razzle-dazzle to this highly enjoyable spin on a true American classic. ‘West Side Story’ runs Sundays though June 19 (and one Saturday, June 11), at the Cushing Memorial Amphitheatre on Mt. Tam. Visit www.mountainplay.org for all the information.

Låt mig ta er med till en natt i New York. Den 26 september har just övergått i den 27:e. Året är 1957. På restaurang Sardi's är det nervöst. Per Feltzin om Leonard Bernsteins musikal West Side Story. Alla är där: tonsättaren, koreografen, sångarna, dansarna - alla. Man småpratar och väntar på morgontidningarna. Trots publikens stora jubel och vännernas ryggdunkningar vet alla att det är kritikernas ord som avgör om en uppsättning på Broadway överlever.Så kommer morgontidningarna och de börjar läsa Herald Tribune där den mest fruktade kritikern finns. Det börjar inte bra, men det tar sig. Och sen kommer några rader som kommer att leva kvar länge: "Jag har sett den mest vilda, rastlösa, elektriska dansen på ett drygt decennium. Den radioaktiva strålningen från West Side Story sänker sig fortfarande ner över Broadway denna morgon."Reaktionerna på Leonard Bernsteins West Side Story var med några få undantag positiva. Redan då talade man om en milstolpe i musikdramatikens historia.Pressen skrev att Broadway hade fått tillbaka sin mognad med West Side Story. Även om ämnet i sig inte var en skönhetsupplevelse, så var det som att West Side Story förvandlade ämnet till en upplevelse av just skönhet.Den mest betydelsefulla kritikern fanns på New York Times. Han kallade den "en djupt rörande föreställning... just så ful som storstadsdjungeln är och också gripande, öm och förlåtande."Ser vi bara till berättelsen, en modern tolkning av Romeo och Julia, har den djup, komplexitet och känslighet. Musikalen har till och med vågat sig på att delvis följa Shakespeares tragiska slut. Det är något mycket ovanligt i USA, och här lät man båda akter sluta med döda ungdomar på scenen.Det var inte den första musikalen med ett allvarligt socialt tema, men ett av de första, där samtiden fanns på scenen.Seriösa ämnen hade man oftast placerat på ett behagligt avstånd i tiden, men i West Side Story fick man se de riktiga tonårsgängen. Här var det New Yorks invandrade puertorikaner, Sharks, som mötte de tuffa amerikanarna, Jets. På 50-talet var det här mest ett problem för de riktigt stora västerländska städerna. I dag angår det många fler. Men i musiken hörde man redan då samma ambivalens hos de som kommit från de fattiga öarna som vi hittar i dag. Ska man stanna kvar eller vända tillbaka?När det gäller att spegla samtiden eller samtidsproblem på scen, finns det inget som så fort blir helt galet. En felaktig betoning, ett felaktigt varumärke eller uttryck gör att berättelsens trovärdighet raseras omedelbart. Detaljkännedomen måste vara hundra procentig.Just West Side Story tycks nästan alltid undgå den brutala desarmeringen. Den lever lika mycket och väl, oavsett vilken miljö den placerats i och oavsett vilken tid vi själva ser den i.Men det ställs mycket höga krav på de som ska vara på scenen. Sång och dans i en musikal var förstås inte ovanligt, men det nya var att samma aktörer här skulle kunna sjunga, dansa - och agera.Jerome Robbins avancerade koreografi var dessutom mycket mer än instoppade dansstycken, den var en del av dramatiken och förde ofta handlingen framåt. Förutom de äldre i musikalen, och till viss del också huvudrollerna Tony och Maria, krävdes att alla skulle kunna dansa - och kunna dansa bra!Den stora betydelse som dansen har för West Side Story gör den fortfarande unik. Sångerna och danserna är lika viktiga för handlingen. Den koreografi som Robbins skapade då, 1957, är nu en grundsten i modern dans.En intressant detalj i Robbins arbete med dansarna och sångarna var att han hade hållit Jets och Sharks åtskilda under arbetet på scenen och på fritiden. Sångtextförfattaren Stephen Sondheim kommenterade: "Jag tyckte först att det var pretentiöst, men naturligtvis var det perfekt. Utan någon som helst agg eller fientlighet, hade Robbins givit de två gängen varsin känsla av individualitet. Vi fick direkt två väldiga personligheter på scenen".Men naturligtvis skulle ingen komma ihåg berättelsen om inte musiken fanns. Leonard Bernstein har skapat en dramatiskt fungerande musik som samtidigt är lätt att omedelbart tycka om och sjunga. Maria, Tonight och Somewhere är väl sånger som närmast blivit folkmelodier, var mans egendom. Sen finns I feel pretty, America, A boy like that och danserna: Mambon, Cool och den spefulla Gee, Officer Krupke. Det är en pärlrad av nio sånger som många av oss känner igen efter bara några toner.Librettisten Arthur Laurents berättade att musiken bara flöt ur Bernstein. Han tycktes inte tänka. Han kunde konsten att förvandla den speciella folkliga New Yorkska musiken till något annat än pastisch. Och han kunde ge varje person sin egen musikaliska karaktär, menade Laurents.Bernstein ville, med egna ord, "skapa en otrolig blandning av det abstrakta och det realistiska, poesi och prosa - både och - och ändå inget av det."Det anmärkningsvärda var att Bernstein skrev West Side Story parallellt med operamusikalen Candide. One hand, one heart var ursprungligen en duett som Candide och Kunigunda skulle sjunga och Gee, Officer Krupke fanns med i Venedigscenen i Candide. Utbyteshandeln gick åt det andra hållet också. Candide fick delar av det som inte fungerade i West Side Story.Man kan också hitta förändringar under vägen. Inledningen på West Side Story var först ett militant aggressivt stycke, där både Jets och Sharks sjöng. Sedan skrevs i stället Prologen där också gängen möttes, men nu till ljudet av, som Bernstein beskrev det, "miljoner ord med vansinnigt snabb musik". Senare togs orden bort och vi fick den inledning vi har i dag, med bara en vissling och det rytmiska knäppandet med fingrarna.Jag slutar den här Klassikern med en syn från Markusplatsen i Venedig några år efter premiären 1957. Bernstein och några vänner promenerar in på Piazzan och som genom en osannolik tillfällighet börjar flera av de små musikkapellen samtidigt spela Maria. Bernstein skrattar och börjar buga sig mot folk runt omkring, men ingen känner igen honom. Det var då det. Det skulle bli annorlunda.Per Feltzin per.feltzin@sverigesradio.seSamtliga musikexempel är från filmmusikinspelningen 1960.Källor: Ögonvittnesbeskrivningar och böcker - bland andra Meryle Secrests Leonard Bernstein - A life på Alfred A. Knopf och Humphrey Burtons Leonard Bernstein på Faber and Faber.Det finns en otrolig mängd inspelningar och ljud- och filmklipp från West Side Story att köpa och se på nätet, men jag kan inte låta bli att rekommendera en enda kort svartvitt film från 60-talet. Det är Sammy Davis, Jr och slagverkaren Johnny Mendoza som gör ett medley. Fem minuter och femtio sekunder musikalitet. Länken är en av flera och deras samarbete finns också på album.

Tre kinoaktuelle filmer står i fokus i denne episoden av Filmfrest: Noah Baumbachs briljante komedie «Mistress America»,, Mélanie Laurents finfølende venninneportrett «Pust» og australske Jennifer Kents gruoppvekkende horrorfilm «The Babadook».