Podcasts about officer krupke

The passion of music and choreography in film was never more prevalent than in the Best Picture winner of 1961. West Side Story is a story about love, gangs, cultural wars, and ultimately tragedy. But mostly it's about the music and dance.  We remember all the songs ... incredible tunes including Tonight, I Feel Pretty, Officer Krupke, and of course America. They have stood the test of time. We also love the story of two young adults madly in love amidst the turmoil and hate of other cultures within New York between the whites and the Puerto Ricans.  However, does this movie hold up over six decades later? Do we still love the movie as a piece of filmmaking the way it was embraced in 1961?Listen to film critic Jack Ferdman's take on it as he analyzes everything about West Side Story, as well as many other films from that year, and hear which film he gives his Rewatch Oscar of 1961.Download, listen, and share ALL Rewatching  Oscar episodes.SUBSCRIBE and FOLLOW Rewatching Oscar:Website: https://rewatchingoscar.buzzsprout.comApple Podcasts/iTunesSpotifyGoogle PodcastsiHeart RadioPodchaserPodcast AddictTuneInAlexaAmazon Overcasts Podcast Addict Player FMRSS Feed: https://feeds.buzzsprout.com/1815964.rssWebsite: https://rewatchingoscar.buzzsprout.comSocial Media Links: Facebook, Twitter, LinkedIn, Instagram, BlueSkyShare your thoughts and suggestions with us through:Facebook Messanger or email us atjack@rewatchingoscar.com or jackferdman@gmail.comMusic by TurpacShow Producer: Jack FerdmanPodcast Logo Design: Jack FerdmanMovie (audio) trailer courtesy of MovieClips Classic TrailersMovie (audio) clips courtesy of YouTubeSupport us by downloading, sharing, and giving us a 5-star Rating.  It helps our podcast continue to reach many people and make it available to share more episodes with everyone.Send us a textSend us a text

Join Craig and Kayode on this episode where we discuss all things about West Side Story 2021 For the first time, Craig and Kayode... compromise? Strange things TW - due to the serious nature of some of the plot, we do speak quite bluntly about SA. @teekayoki @pokubakes @dream_gworlz https://www.buymeacoffee.com/dreamgworlz

We hear the word "justice" and immediately think "punishment." But justice in the truest sense isn't only a set of rules: it's also a virtue. From Plato to Dante by way of Stephen Sondheim, Spencer explains the last of the four cardinal virtues as both a source and a destination of love. Plus: an extended mailbag question about dealing with gender dysphoria. Sign up to be in the mailbag: https://rejoiceevermore.substack.com/ Check out my book, How to Save the West: https://a.co/d/fisa1Kq  

"Jeff's indiscretion forces Larry to embrace his feminine side, and one of Jeff's clients competes with Cheryl for a 'Seinfeld' role" -Original Air Date: 11/8/2009- This week we're talking about Officer Krupke, Threads being Deads, Schmigadoon and we have a super uncomfy discussion trying to determine if Larry is problematic. This is No Hugging, No Learning, the show about one thing...watching Curb Your Enthusiasm for the first time. Want more NHNL? Next week's episode drops early on Patreon! Join the It's a Hyundai tier for just $5/month and get every episode one week early with all of the extra content that we usually clip out of each release and movie reviews every month from the Seinfeld Extended Universe. What would YOU like to hear for our next review? Sign up and let us know! Join Us at patreon.com/nohugging Get a FREE No Hugging, No Learning sticker by giving us a 5 star rating and a written review wherever you listen to this! Just be sure to send us your address! Email us: nohuggingnolearningshow@gmail.com Follow us!  @nohugging on X @nohugging_nolearning on Instagram Music: Curb Your Enthusiasm Theme Song Remix by robloxgreat (rip)

Dozens of teenagers rampage in the Loop. Ben riffs. And podcaster Marc Sims does some riffing of his own on the same topic. Is anyone to blame? Should parents be punished for the misdeeds of their teens? Was Mayor-elect Johnson's response too Officer Krupke? And a few observations about Walmart and capitalism. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Why can't the Jets say "fuck?" What makes Officer Krupke funny? Does the winner of the showdown get a special prize? Find out as we pit West Side Story (1961) and West Side Story (2021) against each other to see which one wins the crown! The Biddies are bringing the smackdown!

This week Ivan and Stephen review Episode 8 of Curb Your Enthusiasm Season 7, “Officer Krupke”, scene by scene. Follow us on social media @curbcastpod, or send us an email at curbcastpod@gmail.com Join our Facebook group, Curb Your Enthusiasm Fan Club, and check out our merch store at https://bit.ly/2OQVYxk This podcast is part of the independent podcast network Mish Mash Media. Support Mish Mash financially at patreon.com/mishmashmedia or at paypal.me/mishmashmedia.

Actor Brian d'Arcy James joins Mase & Sue to talk about his role as Officer Krupke in Steven Spielberg's "West Side Story." They also talk about his work in Marvel's "Hawkeye" plus his Broadway career including shows like "Shrek," "Hamilton," "Something Rotten" & "Sweet Smell of Success."

It's our West Side Story episode!!! A narrative on America then and now! Join us as we review everything West Side Story, from the music, to the actors, locations and differences between the 1961 movie and the 2021 remake. Thanks for joining us! Steven Spielberg directs the 2021 West Side Story His movies always have aliens in them but not this one Dolly loves Leonard Bernstein and his music Rita Moreno (Anita in the 1961 movie is in the Spielberg production) It's set in the early 1950s We give an overview of the story The 2021 cast members who are also broadway singers Dolly like guys that look like Officer Krupke (aka Chicago style gangsters) Erik's favorite line in the original movie “What are we doing pooping around here with dumb broads?” Life Lesson: Sometimes it takes a great tragedy to make people realize things need to change The story of Natalie Wood (the original “Maria”) Hollywood used to use white actors/actresses for ethnic roles Ansel Elgort was sick when he auditioned for Steven Spielberg Auto Tune is a standard these days in all productions ADR audio was the old Hollywood way Erik hates cameras that have “Rolling Shutter” Ariana Debose (Anita 2021) is our hero!!! True life story of love across social divides The new movie addresses the terrible actions of the white gang (The Jets) in how they treat Anita, when she comes to help Maria connect with Tony. Anita calls them what they are: “Rapists” Erik's theater experience watching West Side Story 2021 Erik's Covid weight loss plan The suspected murder of Natalie Wood Cool real life Hollywood connections: Stories from the cast members The color schemes in the original film were the best The “Love at first sight” scene from the movie Russ Tamblyn: The original “Riff” Spielberg's night shots are his “Bread and Butter” The Psycho remake: Shot for shot The famous daughter of the Psycho actress The genius of Alfred Hitchcock The history of the Golden Globes and the Hollywood Foreign Press West Side Story and the main actresses won at the (non-existent) Golden Globes this year Conspiracies surrounding the Golden Globes And much more…

In this episode we explore the music from Steven Spielberg's new film "West Side Story" and how the themes playing out in the film are explained by Thomas Sowell's classic book "A Conflict of Visions."In particular, we analyze the lyrics to two songs:• "America," and• "Gee, Officer Krupke"This episode can best be appreciated by listening to the full songs and reading along with the full lyrics, links to both are provided here:America audio on youtube HEREAmerica lyrics HEREGee, Officer Krupke on Youtube HEREGee, Officer Krupke lyrics HERE.Trailer to the new Spielberg film HERE (highly recommended you see it in the theaters on the big screen with booming sound).POST IT NOTES STILL AVAILABLEAlan reminds listeners that he is offering a limited edition Post It Note pad with 50 different Sowell quotes free of charge to anyone who emails their name and mailing address to WolanAlan@gmail.com. You can view the quotes HERE and feel free to print out and use these designs as you wish.LIVE BOOK CLUBAlan is hosting a live Zoom "bookclub" on January 5, 2022 at 7:30PM PST to discuss Sowell's "A Conflict of Visions." If you would like to participate in this free event, email us at WolanAlan@gmail.com and we'll try to find a spot for you in the meeting.

Tom and Julie and Producer Brett celebrate Christmas 2021 by opening presents from listeners and from each other! Including a commercial for a Connecticut pawnshop, the Dilberito, a couple Cameos from major celebrities, the Boss at MSG, the spectacular highlight reel of a certain former Atlanta Hawk, and a special song! Also Tom and Julie dictate a new email for Brett to send to TeePublic. And Trump impressions, shame, artichoke dip, The Manchurian Grinchidate, broad references, Chess with a Skellington, Tom's lucky hats, xylophone songs, how to defeat death, Officer Krupke, Shrek the Musical, car pictures, oaters, The Seven Dwarves, Chit Chat I Was Wearing a Hat, Lydia Lunch vs Nardwuar, cats vs dogs, and West Wide Story vs Cats. CLIPS FROM THIS EPISODE *Good Ole Tom's https://www.youtube.com/watch?v=HiTAJETUJ0k *The Dilberito Video Game https://archive.org/details/Dilberito# LISTEN TO DOUBLE THREAT AD-FREE ON FOREVER DOG PLUS: http://foreverdogpodcasts.com/plus DOUBLE THREAT MERCH: https://www.teepublic.com/stores/double-threat SEND SUBMISSIONS TO: DoubleThreatPod@gmail.com FOLLOW DOUBLE THREAT: https://twitter.com/doublethreatpod https://www.instagram.com/doublethreatpod DOUBLE THREAT IS A FOREVER DOG PODCAST: https://foreverdogpodcasts.com/podcasts/double-threat Theme song by Mike Krol Artwork by Michael Kupperman

Tom and Julie and Producer Brett celebrate Christmas 2021 by opening presents from listeners and from each other! Including a commercial for a Connecticut pawnshop, the Dilberito, a couple Cameos from major celebrities, the Boss at MSG, the spectacular highlight reel of a certain former Atlanta Hawk, and a special song! Also Tom and Julie dictate a new email for Brett to send to TeePublic. And Trump impressions, shame, artichoke dip, The Manchurian Grinchidate, broad references, Chess with a Skellington, Tom's lucky hats, xylophone songs, how to defeat death, Officer Krupke, Shrek the Musical, car pictures, oaters, The Seven Dwarves, Chit Chat I Was Wearing a Hat, Lydia Lunch vs Nardwuar, cats vs dogs, and West Wide Story vs Cats.CLIPS FROM THIS EPISODE*Good Ole Tom's https://www.youtube.com/watch?v=HiTAJETUJ0k*The Dilberito Video Game https://archive.org/details/Dilberito#LISTEN TO DOUBLE THREAT AD-FREE ON FOREVER DOG PLUS:http://foreverdogpodcasts.com/plusDOUBLE THREAT MERCH:https://www.teepublic.com/stores/double-threatSEND SUBMISSIONS TO:DoubleThreatPod@gmail.comFOLLOW DOUBLE THREAT:https://twitter.com/doublethreatpodhttps://www.instagram.com/doublethreatpodDOUBLE THREAT IS A FOREVER DOG PODCAST:https://foreverdogpodcasts.com/podcasts/double-threatTheme song by Mike KrolArtwork by Michael KuppermanSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today, we begin our long awaited exploration of the musicals of the great Stephen Sondheim (1930-2021) who died recently at the age of 91. We're starting with one of Sondheim's early collaborations: the 1957 classic West Side Story, which saw Sondheim working as lyricist alongside composer Leonard Bernstein. We talk about: - The death of Sondheim and his emerging status as a guru/wisdom teacher in the “church” of musical theatre – a reputation famously sent-up by the song “God” - The origins of West Side Story (1957) in the racial & religious tensions between Jewish & Catholic immigrants in New York City's East Side at the turn of the 20th century, and how race in America had shifted by the 50s - "Something's Coming," "The Jet Song," and the two dueling religious systems in West Side Story: group belonging vs. love, and the desire for a conversion experience - The show's classic love songs—"Tonight," "Maria," and "Somewhere"—with their theological ideas about the full embodiment of sexual desire, and the power (and lure) of forbidden love - West Side Story's social agenda, explored in "Gee, Officer Krupke" and "America," and the tension between whether we hold society or individuals responsible for violence - Whether the show ends in tragedy or hope – the challenge of redemptive violence and the promise of Maria as the priest of her community You'll hear: - The company of the 2010 revue Sondheim on Sondheim (including the great Barbara Cook, Vanessa L. Williams, Leslie Kritzer, Erin Mackey, Tom Wopat, Norm Lewis, Euan Morton, and Matthew Scott), singing the song “God” - Isaac Cole Powell singing "Something's Coming" (available to watch here) - Larry Kert & Carol Lawrence singing "Tonight," "Somewhere" and "I Feel Pretty" from the original 1957 Broadway Cast Recording. - Max Goberman, Eddie Roll, Grover Dale and the company of the original Broadway cast singing "Gee, Officer Krupke" - Carol Lawrence, Carmen Gutierrez, Marilyn Cooper and Elizabeth Taylor singing "I Feel Pretty" from the Original Broadway Cast recording.   Continue the conversation with Peter (@pgeinvan) and Nathan (@nathan_lerud) on Twitter, and follow the Gospel of Musical Theatre on Instagram or Twitter @gospelofmt.

The Astros and Red Sox meet in the ALCS. Is it the Cheater's Ball? Tom and Jay are back to review some of the top compliance and ethics stories on the Back in the ALCS edition.  Stories Who knows what values lurk in the heart? The Shadow know (and your emails as well). The John Gruden firing. ESPN, Sports Illustrated, NYT, WSJ. Tom with a 2-part blog post series. Confronting Ethical and Moral Dilemmas: Don't Go It Alone. Richard Snell in Knowledge@Wharton. Evolution of 3rd party risk management. Mike Volkov in Corruption, Crime and Compliance. The role of employees in weeding out corp misconduct. David Smagalla in the WSJ Risk and Compliance Journal. Ex-Braskem CEO gets 20 months. Kyle Brasseur in Compliance Week. (sub req'd) Cooperating (or not) with the SFO. Lloydettte Bai-Marrow in the FCPA Blog. Inconsistency in UK and EU banking regs? Deepali Nijhawan in CCI. What is tech risk? Carol Williams in Risk and Compliance Matters. Ozy from the audit perspective. Francine McKenna in The Dig. (sub req'd) ESG channels Watergate (as in follow the money). Lawrence Heim in practicalESG.  Podcasts and Events Compliance Week is going ‘Inside the Mind of the CCO'. Participate in the survey here. Ethisphere's World Most Ethical Company awards for 2022 are open for submission. For more information on the Application Process, click here. Are you exasperated? Then check, F*ing Argentina. In this podcast series co-hosts Tom Fox and Gregg Greenberg, author of F*ing Argentina explore the current American psyche of being overworked, over leveraged, overtired and overwhelmed. Find out about modern America's exasperation with well…exasperation. In Episode 1, the dreaded Parent Meeting night at your child's elementary school. In Episode 2, why F*ing Argentina? In Episode 3, one of the most beloved characters in musical theater, Officer Krupke is exasperated. In Episode 4, the ubiquitous ‘Couples Dinner'. In Episode 5, a tennis journeyman's lament. This month on The Compliance Month, I visit with John Melican, Managing Director at Exiger on his journey to and from the CCO chair. In Episode 1, college and early professional career at NY County DA's Office. In Episode 2, Melican moves into the corporate world and into compliance. What is Design Thinking in Compliance? Check out the newest edition to the CPN, where co-hosts Tom Fox and Carsten Tams discuss the social engineering tool of design thinking and how it creates greater compliance engagement and effectiveness. In Episode 2, we take up co-creation. How does a Compliance Bible become a best-seller? Check out Tom's appearance on the C-Suite Network's Best Seller TV to find out. Purchase The Compliance Handbook, 2nd edition here. Tom Fox is the Voice of Compliance and can be reached at tfox@tfoxlaw.com. Jay Rosen is Mr. Monitor and can be reached at jrosen@affiliatedmonitors.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tom is on for a solo run this week to review some of the top compliance and ethics stories on the Facebook Whistleblower edition.  Stories 1.     The Facebook Whistleblower. 60 Minutes appearance and Congressional Testimony. Matt Kelly in Radical Compliance. Aaron Nicodemus in Compliance Week.  (sub req'd) 2.     Petrofac settles with SFO. Harry Cassin in the FCPA Blog.  3.     ESG and business risks. Mike Volkov in Corruption, Crime and Compliance.  4.     DOJ to emphasize white collar criminal cases.  Dylan Tokar in the WSJ Risk and Compliance Journal.  5.     Ancient history and FCPA enforcement. Dick Cassin in the FCPA Blog.   6.     Lessons learned from the Pandora Papers. Jaclyn Jaeger in Compliance Week. (sub req'd) 7.     Using AI for pattern recognition in investigations. Veeral Gosalia in CCI. 8.     Will ethical lapses at the Fed sink the Powell nomination? Jeanna Smialek and James Tankersly in the NYT. 9.     The Big Stink and Green Bonds. Lawrence Heim in PracticalESG.  10.  Would you trust Ozy? Ozy says its open for business (after a short hiatus).  What does it mean for compliance? Megan Leonhardt and Jessica Mathews in Fortune. 11.  Risk based compliance and ransomware. SheppardMullin lawyers on JDSupra.    Podcasts and Events 12.  Congrats to Great Women in Compliance for being honored as a top pod by w3 in the DEI category; Everything Compliance as a top roundtable in podcasting and CPN for top compliance podcast network.  13.  Compliance Week is going ‘Inside the Mind of the CCO'. Participate in the survey here.  14.  Ethisphere's World Most Ethical Company awards for 2022 are open for submission. For more information on the Application Process, click here.  15.  Are you exasperated? Then check, F*ing Argentina. In this podcast series co-hosts Tom Fox and Gregg Greenberg, author of F*ing Argentina explore the current American psyche of being overworked, over leveraged, overtired and overwhelmed. Find out about modern America's exasperation with well…exasperation. In Episode 1, the dreaded Parent Meeting night at your child's elementary school. In Episode 2, why F*ing Argentina? In Episode 3, one of the most beloved characters in musical theater, Officer Krupke is exasperated. In Episode 4, the ubiquitous ‘Couples Dinner'. 16.  This month on The Compliance Month, I visit with John Melican, Managing Director at Exiger on his journey to and from the CCO chair. In Episode 1, college and early professional career at NY County DA's Office.  17.  What is Design Thinking in Compliance? Check out the newest edition to the CPN, where co-hosts Tom Fox and Carsten Tams discuss the social engineering tool of design thinking and how it creates greater compliance engagement and effectiveness. Check out Episode 1 here.  18.  Join Jay, Tom and the top E&C professionals at Converge21, a virtual conference on October 12 & 13. Registration and information here. Why should you attend? Check out some of the panelists discuss their presentation on the Converge21 podcasts. Michael Randrup Wendy Badger, Lloydette Bai-Marrow, Tom and Philip Winterburn.  19.  How does a Compliance Bible become a best-seller? Check out Tom's appearance on the C-Suite Network's Best Seller TV to find out.  Purchase The Compliance Handbook, 2nd edition here.  Tom Fox is the Voice of Compliance and can be reached at tfox@tfoxlaw.com. Jay Rosen is Mr. Monitor and can be reached at jrosen@affiliatedmonitors.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jay and Tom  are back to unpack some of the stories that caught their collective eye on the Monsterfest Month Returns edition. Stories 1.     WPP FCPA enforcement action. Tom with 5-part series on the FCPA Compliance and Ethics Blog. Matt Kelly in Radical Compliance. Tom and Matt on Compliance into the Weeds. Mike Volkov has a 3-part series in Corruption Crime and Compliance.  2.     Human rights litigation on the EU. Salomé Lemasson in the FCPA Blog.  3.     BOD structure as key to compliance oversight. David Katz and Laura McIntosh in Harvard Law School Forum on Corporate Governance. 4.     Bringing clarity to the chaotic world of the CCO. Chris Audet in CCI.  5.     Another week, another Wells Fargo fraud related penalty. Jaclyn Jaeger in Compliance Week (sub req'd) 6.     Dan Kahn returns to private practice. Dylan Tokar in the WSJ Risk and Compliance Journal. 7.     Do ABC academics fail? Matthew Stephenson in GAB.  8.     Conquering the last mile of delivery of your Code of Conduct. Harper Wells in CCI. 9.     What is Ozy and what does it mean for compliance. Ben Smith in the NYT. 10.  Who owns ESG? Matt Kelly explores on Radical Compliance.  Podcasts and Events 11.  CCI surveying stress in compliance. Henry Kronk in CCI. Take the survey here. 12.  Compliance Week is going ‘Inside the Mind of the CCO'. Participate in the survey here.  13.  Ethisphere's World Most Ethical Company awards for 2022 are open for submission. For more information on the Application Process, click here.  14.  Check out the latest addition to the Compliance Podcast Network, A Yank at Oxford. It details the journey of Foley & Lardner partner David Simon as he heads back to university to matriculate for a MBA at Oxford. Episode 1.  15.  Are you exasperated? Then check, F*ing Argentina. In this podcast series co-hosts Tom Fox and Gregg Greenberg, author of F* Argentina explore the current American psyche of being overworked, over leveraged, overtired and overwhelmed. Find out about modern America's exasperation with well…exasperation. In Episode 1, the dreaded Parent Meeting night at your child's elementary school. In Episode 2, why F*ing Argentina? In Episode 3, one of the most beloved characters in musical theater, Officer Krupke is exasperated.  16.  Tom and Compliance Week EIC Dave Lefort look back at September in CW and forward to October (and talk some sports) in this month's edition of From the Editor's Desk.  17.  K2 Integrity's Edoardo Fiora will present at, “ESG Getting Hitched to Business (and IP) Strategy—From Resilience Framework to Recovery Path,” on October 14th. Registration and Information here.  18.  Join Jay, Tom and the top E&C professionals at Converge21, a virtual conference on October 12 & 13. Registration and information here. Why should you attend? Check out some of the panelists discuss their presentation on the Converge21 podcasts. Michael Randrup Wendy Badger, Lloydette Bai-Marrow, Tom and Philip Winterburn.  19.  How does a Compliance Bible become a best-seller. Check out Tom's appearance on the C-Suite Network's Best Seller TV to find out.  Purchase The Compliance Handbook, 2nd edition here.  Tom Fox is the Voice of Compliance and can be reached at tfox@tfoxlaw.com. Jay Rosen is Mr. Monitor and can be reached at jrosen@affiliatedmonitors.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jonathan Mill is a gregarious presence who guarantees good work, and a giggle. His career as an actor has been paralleled with a committed support of his fellow performers through extensive work with the Media, Entertainment and Arts Alliance. He was pivotal in establishing the Australian AIDS fund-raising body of Oz Showbiz Cares; an organisation that produced the annual ‘Hats Off' concert, which featured an extensive list of entertainers over 20 years.He graduated from NIDA in 1986 and has worked with the Sydney Theatre Company, Melbourne Theatre Company, State Theatre Company of South Australia, Belvoir St Theatre, Ensemble Theatre, Sport For Jove, GFO, Cameron Mackintosh. On these stages he has played in productions of A Midsummer Night's Dream, A View From the Bridge, Cabaret, King Lear, Laughter on the 23rd Floor, Oliver!, The Crucible, The Ham Funeral, Mary Bryant, Moby Dick, Meet Me in St Louis, Buddy, Jolson, The Government Inspector, Twelfth Night and Waiting for Godot. For four and a half years he toured as Officer Krupke in West Side Story.Jonathan has written and directed many shows including cabarets for Caroline O'Connor, Margi de Ferranti, Leonie Page and Maree Johnson.His television work includes A Country Practice, Water Rats, Home and Away, All Saints and several seasons of Andrew Denton shows on the ABC. His most famous film appearance was in The Wiggly Wiggly Christmas.He has taught at institutions that include NIDA, Actors Centre Australia, Flinders University, Adelaide Centre For The Arts, Brent Street, Sydney Actors School and Westside Actors Studio.Jonathan served four terms as the Federal Vice President of Actors Equity and for many years has represented Australian performers on numerous boards nationally and internationally.He has been a champion to many and shares his story with his trademark passion, candour and humour.The STAGES podcast is available from Apple podcasts, Spotify, Whooshkaa and where you find your favourite podcasts. www.stagespodcast.com.au

In episode 3, we wind back the clock to 1957 and anticipate the upcoming Stephen Spielberg film remake based on the Broadway show, West Side Story. Come along as we discuss the music theory of tritones, Latin American musical sounds, and dance infused theater.Have any comments, questions, or suggestions? Send us an email at bwayoveranalyzed@gmail.comFollow Broadway Overanalyzed on Instagram at @bway.overanalyzedTimestamps:0:00:00 - Introduction0:03:06 - Sam and Lyd discuss their experience with West Side Story0:04:43 - A tangent on movie musicals0:06:25 - Background on Leonard Bernstein0:07:51 - West Side Story's rocky trip to Broadway0:14:33 - A brief synopsis of the show0:15:23 - The tritone0:29:18 - The musical styles of West Side Story0:34:18 - Overview of the soundtrack0:37:31 - "Prologue"0:45:03 - "The Jet Song"0:49:59 - "Something's Coming"0:54:43 - "The Dance at the Gym"1:00:01 - "Maria"1:04:56 - "Tonight"1:08:18 - "America"1:13:24 - "Cool"1:18:32 - "One Hand, One Heart"1:23:00 - "Tonight (Quintet)"1:27:20 - "The Rumble"1:29:27 - "I Feel Pretty"1:31:59 - "Somewhere"1:39:12 - "Gee, Officer Krupke"1:41:30 - "A Boy Like That/I Have a Love"1:45:05 - "Finale"1:48:42 - Rating West Side Story1:53:53 - Outro

Alex and Av are joined by the incomparable MJC to talk all things West Side Story on Season 7, Episode 8 "Officer Krupke". Original Air Date: November 8, 2009 Synopsis: While Cheryl competes for a role on the Seinfeld reunion, Larry is forced by Jeff to embrace his feminine side after a series of bizarre events leads Suzie to think he's having an affair. Send us your comments, questions, feedback and suggestions at CurbPostman@gmail.com or prettygoodcurbpod@gmail.com. Follow us on Twitter: @asinensky @achester99 @PrettyGoodCurb Give us a 5 Star Rating and Review: https://podcasts.apple.com/us/podcast/pretty-pretty-pretty-good-a-curb-your-enthusiasm-podcast/id1497313159 See where the episode ranks on our Episode Rankings. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This podcast covers New Girl Season 1, Episode 13, Valentine’s Day, which originally aired on February 14, 2012 and was written by Lesley Wake and directed by Tucker Gates. Here’s a quick recap of the episode:It’s Valentine’s Day and Nick is planning a classic Valentine’s date with Julia, Winston’s starting what he thinks is a budding romance with Shelby, Jess is looking for a one-night stand with the help of Schmidt and Cece. At the end of the night, no one gets what they were looking for.On this episode’s Pop Culture section we focused on Schmidt’s Desert Island Book List, which are:Outliers by Macolm GladwellThe Prince by MachiavelliFreak by John LeguizamoVampire Diaries - Any scripts from the first season of Vampire DiariesPhantom Tollbooth by Norton JusterAdditional Pop Culture References such as:It’s Complicated - Schmidt references this to Winston as a not complicated movie. It’s Complicated is a Nancy Meyers movie about a couple reconnecting, but they're divorced and he's remarried.Rise of the Planet of the Apes - Jess, Oliver, and Schmidt are watching Rise of the Planet of the Apes when they get back to Oliver’s house for Jess’ one night stand. The Rise of the Planet of the Apes is a movie produced by the same production company as New Girl, Chernin Entertainment, in 2011.“Youths? Are you Officer Krupke?” - Jess says this to Schmidt when she hears him refer to young people as “youths”. Officer Krupke is the officer who is made fun of in the musical West Side Story.We also cover “Schmidtisms” when Schmidt is cheering Jess up at the end of the episode, and of course, we covered YOUTHS! For “Not in 2020” on this episode we discuss the way the writers addressed Schmidt’s repeated acknowledgement of Cece’s ethnicity and how that parallels with how Kyle interacts with her. Additionally, Julia uses the Chinese philosopher Confucius as a mean joke to her coworker. We also explore the careers of Clark Duke and Ryan Kwanten, the guest stars of this episode.This episode got an 8/10 rating from Kritika whose favorite character is Schmidt and Kelly rated this episode an 8/10 and her favorite character was Jess!Additionally in this podcast we discussed our Desert Island Books and while Kritika couldn’t choose one and defaulted to a Harry Potter book, Kelly’s choice was A Tree Grows in Brooklyn.Thanks for listening and stay tuned in two weeks for Episode 14!Music: "Hotshot” by scottholmesmusic.comFollow us on Twitter, Instagram or email us at whosthatgirlpod@gmail.com!

With themes of love, war, family, and pride, there is a reason that West Side Story is a timeless classic that can be reimagined in every era. Tara and Stefania are in the car this week to talk about the newest Broadway revival. This controversial production has had its run of troubles before hitting the stage, and they are ready to deep dive into the revamped classic. Between comparisons to the movie, an in-depth look at the staging, and an important discussion of the gift that is Isaac Powell, we are in the car and ready to rumble. . . . "Act I: Prologue" - West Side Story (Original Broadway Cast Recording) "Act I: The Rumble" - West Side Story (Original Broadway Cast Recording) "Act I: Tonight" - West Side Story (Original Broadway Cast Recording) "Act I: Cool" - West Side Story (Original Broadway Cast Recording) "Act I: Maria" - West Side Story (Original Broadway Cast Recording) "Act I: Cool" - West Side Story (Original Broadway Cast Recording) "Something's Coming - Isaac Powell" - Live From Here (Youtube) "Act I: The Dance at the Gym" - West Side Story (Original Broadway Cast Recording) "Act II: I Feel Pretty" - West Side Story (Original Broadway Cast Recording) "Act I: America" - West Side Story (Original Broadway Cast Recording) "Act II: Gee, Officer Krupke" - West Side Story (Original Broadway Cast Recording) "No More" - Spider-Man: Turn Off the Dark Original Cast All music tracks used for educational and entertainment purposes only.    

Dr. Jessica Davis and Dr. Jenna Kantor come on to the HET Podcast to talk about combining healthcare and the performing arts.  They tell us about cutting edge technologies used for dancers, incorporating dance into PT education, and pros and cons of working with this population.   Resources mentioned: Marie-T Prosthesis for Ballerinas Mark Fisher Fitness Jessica's ICE course: Performing Artist: Comprehensive Management  International Association of Dance Medicine and Science Harkness Center for Dance Injuries APTA Academy of Orthopaedic PT: Performing Arts Special Interest Group Dance Magazine Physiotherapy Performance Perspectives Prevention of Injuries of the Young Dancer Powerful Performer   Biographies: Jessica Davis Jessica Davis, PT, DPT, OCS, FAAOMPT has been practicing orthopaedic physical therapy with an emphasis in manual therapy since graduating from Duquesne University. She received her Doctorate in Physical Therapy from Chatham University in 2008, became a Board-Certified Specialist in Orthopaedics in 2002, and a Fellow of the American Academy of Orthopaedic Manual Physical Therapists with Evidence in Motion in 2017. In addition to her extensive manual therapy training and commitment to excellence in individualized patient care, she has a particular interest in dance medicine that stems from her comprehensive dance background with 18 years of pre-professional dance training.   She studied with the Oklahoma City Ballet, Midland Ballet Company, and Pittsburgh Ballet Theatre. She is lead faculty with the Institute of Clinical Excellence where she heads the Performing Arts Division and also instructs on cervical and lumbar spine treatment. She is currently interim faculty with Slippery Rock University's Dance Department and provides guest lecturing for Duquesne University and Chatham University. Jessica maintains various professional memberships, including the American Academy of Orthopedic Manual Physical Therapists, the Pennsylvania Physical Therapy Association and the American Physical Therapy Association.   Jenna Kantor Born in Petaluma, California, Jenna Kantor entertained her parents and dinner guests by improvising dance routines to classical music in the living room. To feed this hunger to perform after dinner, her mother signed her up for ballet lessons at the age of five. While this craving to dance was fed, she expressed herself vocally throughout her home singing her one-woman version of West Side Story.  “I Feel Pretty” and “Officer Krupke” were a few of her preferred selections to belt out at a moments notice.  It wasn't until Jenna attended the University of California, Irvine, she found herself pulled towards musical theatre. She took a risk with the song “Nobody Does It Like Me” and continued to use that risk to book her first show playing Miss Thorn in the hit musical “Ruthless.” Already a dancer, Jenna Kantor worked hard in both her vocal and dramatic performances to grow into a strong triple threat. In order to build her resume and experience during college, she continued her journey performing in professional musical productions throughout Orange County, California. After graduating with a BA in drama and a BA in dance, Jenna headed for New York and booked her first gig with Disney Cruise Line. She remains grateful for her continuous work in inspiring  musical productions throughout the US and strives to pass on the inspiration to future performers.    Contact information: Jessica Davis Instagram: @jdavis7476 Professional: Website: performphysiopt.com Facebook: @performphysiopt Twitter: @PerformPhysiopt Linkedin: Perform Physio Instagram: @performphysiopt Jenna Kantor Facebook: Jenna Kantor Twitter: @JennaKantor Instagram: @musicaltheatredoc Professional: Website: www.jennakantor.com Facebook: @powerfulperformer Facebook: @fairytalephysicaltherapy     The PT Hustle Website Schedule an Appointment with Kyle Rice HET LITE Tool Anywhere Healthcare (code: HET)

Dr. Jessica Davis and Dr. Jenna Kantor come on to the HET Podcast to talk about combining healthcare and the performing arts.  They tell us about the most common injuries that they treat, footwear considerations, muscle imbalances, and other special considerations for the performing arts population. Resources mentioned: Marie-T Prosthesis for Ballerinas Mark Fisher Fitness Jessica's ICE course: Performing Artist: Comprehensive Management  International Association of Dance Medicine and Science Harkness Center for Dance Injuries APTA Academy of Orthopaedic PT: Performing Arts Special Interest Group Dance Magazine Physiotherapy Performance Perspectives Prevention of Injuries of the Young Dancer Powerful Performer   Biographies: Jessica Davis Jessica Davis, PT, DPT, OCS, FAAOMPT has been practicing orthopaedic physical therapy with an emphasis in manual therapy since graduating from Duquesne University. She received her Doctorate in Physical Therapy from Chatham University in 2008, became a Board-Certified Specialist in Orthopaedics in 2002, and a Fellow of the American Academy of Orthopaedic Manual Physical Therapists with Evidence in Motion in 2017. In addition to her extensive manual therapy training and commitment to excellence in individualized patient care, she has a particular interest in dance medicine that stems from her comprehensive dance background with 18 years of pre-professional dance training.   She studied with the Oklahoma City Ballet, Midland Ballet Company, and Pittsburgh Ballet Theatre. She is lead faculty with the Institute of Clinical Excellence where she heads the Performing Arts Division and also instructs on cervical and lumbar spine treatment. She is currently interim faculty with Slippery Rock University's Dance Department and provides guest lecturing for Duquesne University and Chatham University. Jessica maintains various professional memberships, including the American Academy of Orthopedic Manual Physical Therapists, the Pennsylvania Physical Therapy Association and the American Physical Therapy Association.   Jenna Kantor Born in Petaluma, California, Jenna Kantor entertained her parents and dinner guests by improvising dance routines to classical music in the living room. To feed this hunger to perform after dinner, her mother signed her up for ballet lessons at the age of five. While this craving to dance was fed, she expressed herself vocally throughout her home singing her one-woman version of West Side Story.  “I Feel Pretty” and “Officer Krupke” were a few of her preferred selections to belt out at a moments notice.  It wasn't until Jenna attended the University of California, Irvine, she found herself pulled towards musical theatre. She took a risk with the song “Nobody Does It Like Me” and continued to use that risk to book her first show playing Miss Thorn in the hit musical “Ruthless.” Already a dancer, Jenna Kantor worked hard in both her vocal and dramatic performances to grow into a strong triple threat. In order to build her resume and experience during college, she continued her journey performing in professional musical productions throughout Orange County, California. After graduating with a BA in drama and a BA in dance, Jenna headed for New York and booked her first gig with Disney Cruise Line. She remains grateful for her continuous work in inspiring  musical productions throughout the US and strives to pass on the inspiration to future performers.    Contact information: Jessica Davis Instagram: @jdavis7476 Professional: Website: performphysiopt.com Facebook: @performphysiopt Twitter: @PerformPhysiopt Linkedin: Perform Physio Instagram: @performphysiopt Jenna Kantor Facebook: Jenna Kantor Twitter: @JennaKantor Instagram: @musicaltheatredoc Professional: Website: www.jennakantor.com Facebook: @powerfulperformer Facebook: @fairytalephysicaltherapy        The PT Hustle Website Schedule an Appointment with Kyle Rice HET LITE Tool Anywhere Healthcare (code: HET)

Yah. This is our review of the curb episode "Officer Krupke" s07e08. We drink Aurora Hoppyalis from Karl Straus, Mosaic Hop Ale from the Booth & Oh Hi Murk from Mikkeller.

Ben Zuk returns to the podcast to discuss a song that was supposed to end in a four letter word. Instead it has one of the best punchlines in musical theatre. Gee, Officer Krupke details the reasons why the Jets are the way that they are and it might be just as relevant today as it was when it was written. Plus, it's the only Sondheim song that appears in Curb Your Enthusiasm.

Episode 8 - In episode 8, Jessica does a re-watch of the pilot episode of the Gilmore Girls. The comfort food is apple pie. And the community comfort is a fire in a woodstove...so, light up a (nice and contained - safety first!) fire, grab a slice of homemade apple pie, cue up Gilmore Girls on Netflix, and join Jessica for a discussion of the fast-talking/pop culture spouting Gilmores, frying pans to the face, Officer Krupke, and super dry (but very healthy) muffins... As always, thank you to The Don't Tell Darlings for use of their songs "Never Saw Nothing" and "Till I Get Home" in the intro and outro (respectively) to the pod. For more of Camilla's music you can go to www.donttelldarlings.com and www.facebook.com/UprootedStringBand If you enjoy Comfort Measures, please feel free to rate and review the show on iTunes and don't forget to subscribe while you're there. You can get more Comfort Measures at www.patreon.com/comfortmeasures, www.facebook.com/comfortmeasurespodcast, www.twitter.com/ComfMeasuresPod, www.instagram.com/comfortmeasurespodcast.

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.

West Side Story is a musical with a book by Arthur Laurents, music by Leonard Bernstein and lyrics by Stephen Sondheim. It was inspired by William Shakespeare's play Romeo and Juliet. The story is set in the Upper West Side neighborhood in New York City in the mid 1950s, an ethnic, blue-collar neighborhood (in the early 1960s, much of the neighborhood was cleared in an urban renewal project for the Lincoln Center, which changed the neighborhood's character). The musical explores the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. The members of the Sharks, from Puerto Rico, are taunted by the Jets, a white gang. The young protagonist, Tony, a former member of the Jets and best friend of the gang's leader, Riff, falls in love with Maria, the sister of Bernardo, the leader of the Sharks. The dark theme, sophisticated music, extended dance scenes, and focus on social problems marked a turning point in American musical theatre. Bernstein's score for the musical includes "Something's Coming", "Maria", "America", "Somewhere", "Tonight", "Jet Song", "I Feel Pretty", "A Boy Like That", "One Hand, One Heart", "Gee, Officer Krupke", and "Cool". The original 1957 Broadway production, conceived, directed and choreographed by Jerome Robbins and produced by Robert E. Griffith and Harold Prince, marked Sondheim's Broadway debut. It ran for 732 performances before going on tour. The production was nominated for six Tony Awards including Best Musical in 1957, but the award for Best Musical went to Meredith Willson's The Music Man. Robbins won the Tony Award for his choreography and Oliver Smith won for his scenic designs. The show had an even longer-running London production, a number of revivals and international productions. A 1961 musical film adaptation, directed by Robert Wise and Robbins, starred Natalie Wood, Richard Beymer, Rita Moreno, George Chakiris and Russ Tamblyn. The film was nominated for eleven Academy Awards and won ten, including George Chakiris for Supporting Actor, Rita Moreno for Supporting Actress, and Best Picture.

Following the last episode's bombshell revelation that we were feeling sorry for Jessica, we have another shock for you all this week: it took 22 books to get here, but we're finally reached a Sweet Valley tale with a genuinely healthy message. AND it features a person of colour! I KNOW! Join us in a rousing chorus of "Gee, Officer Krupke" as we head to the Wakefield's free gaff to discuss American washing machines, DeeDee's many epiphanies and Dana's general awesomeness. You can follow us on Twitter at @svhpodcast and follow the Headstuff Podcast Network on @HSPodnetwork and @ThisHeadstuff

I’m George Walker for WFIU Arts. West Side Story opened this weekend at the IU Opera Theater. When the show debuted on Broadway in 1957 I was just about the age of Baby John, the youngest member of the Jets. My friends and I spent a lot of time listening to the gang’s “Officer Krupke” […]

I’m George Walker for WFIU Arts. West Side Story opened this weekend at the IU Opera Theater. When the show debuted on Broadway in 1957 I was just about the age of Baby John, the youngest member of the Jets. My friends and I spent a lot of time listening to the gang’s “Officer Krupke” […]

The Jets vs. The Sharks are back for another rumble at The Paper Mill Playhouse production of West Side Story running June 1- June 26. Host Robin Milling goes behind the scenes to chat with the cast. Michigan born Mikey Winslow (On The Town) as Riff  began his career on Broadway dancing in the ensemble of the 2009 revival of West Side Story. He tells Robin, “Working my way up to the gang. I was Baby John, Big Deal; I played Action and now here I am. Maybe someday I'll play Officer Krupke!” Natalie Cortez reprises her role as Anita. In the 2009 Broadway revival she was cast just after having her first child. She recalls, “Just do West Side Story to lose baby weight! I have a 10-month old so I'm dancing off the baby weight this time too!!” German Alexander (2010 national tour of West Side Story) describes his take on Bernardo. “He plays against his situation either through jokes, humor, or sex. Anything that gets in the way of his relationship with Anita, with Maria is a threat to him just like the Jets are.” Spring Awakening star Matt Doyle is a newcomer to the Jerome Robbins classic. He says, “I'm talking middle school, high school; I've never done it. I somehow always missed the boat. I'm excited for the opportunity to finally get to play Tony, and hopefully not too late!” Belinda Allyn played Maria before at Riverside Theater in Florida, reuniting with choreographer Alex Sanchez at Paper Mill. She says the story still has incredible relevance and needs to be told to reinforce it's theme of intolerance. “The moral of the story is to not hate and that lesson still hasn't been learned in the world.”  

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.

Show Notes: The annual Pass In Review for the University of Rhode Island Ram Marching Band under the direction of the most awesome person who ever was, Dr. Brian Cardany! 1.     Maria 2.     America 3.     Gee, Officer Krupke 4.     Tonight 5.     Drum Line #1 6.     What’d I Say 7.     Georgia On My Mind 8.     America the Beautiful/Hallelujah, I Love Her So 9.     Drum Line #2 10.The Pretender 11.Some Nights 12.I Got You (I Feel Good) 13.Gimme Some Lovin’ 14.Drum Line #3 15.Game of Thrones 16.Shout It Out 17.Louie Louie 18.Fight Song Segue Sung 19.Alma Mater 20. Hey Baby

Officer Krupke, you're really a square! This boy don't need a judge, he needs an analyst's care! (More episode notes at http://www.playaarg.com/podcast/american_auror/AARG_American_Auror_Ep_3)

Krup you! It's a high-school flashback on this week's episode of Kristorm-O-Rama.

Kent Nichols from Ask A Ninja joins us to talk about the first ten minutes of the Super Bowl and more.