Selena, a Boy Like That

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Selena, A Boy Like That A boy like that, who'll kill your brother Forget that boy, and find another One of your own kind Stick to your own kind A boy like that, like that A boy like that will give you sorrow You'll meet another boy tomorrow One of your own kind Stick to your own kind A boy like that, like that A boy who kills Cannot love A boy who kills Has no heart And he's the boy who gets your love and gets your heart? Very smart, Maria, very smart A boy like that wants one thing only And when he's gone, he'll leave you lonely He'll murder your love, he murdered mine Just wait and see, wait and see A boy who kills (un muchacho que mata) Cannot love (no puede amar) A boy who kills (un muchacho que mata) Has no heart (no tiene corazon) And he's the boy who gets your love and gets your heart? Very smart, Maria, very smart A boy like that, a boy like that Kill your brother Find another Girl you've gotta know He'll murder your love, like he did mine A boy like that wants one thing only And when he's gone, he'll leave you lonely He'll murder your love, he murdered mine Un hombre asi matara a tu hermano Encuentra alquien que es como tu Un muchacho asi te dara tristeza Conoceras a alquien maana Cuando termina te deja sola, triste y sola A boy like that wants one thing only He will leave you sad and lonely, sad and lonely Un muchacho asi te dara tristeza Kill your brother Un muchacho asi matara a tu hermano find you another Un muchacho asi te dara tristeza One of your own kind Un muchacho asi te dara tristeza Un muchacho asi matara a tu hermano Un muchacho asi te dara tristeza Un muchacho asi matara a tu hermano Un muchacho asi te dara Un muchacho asi te matara Selena - A Boy Like That w Teksciory.pl.

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West Side Story
West Side Story West Side Story is an American musical with a book rary musical adaptation of Romeo and Juliet . He prpro-o- byby Arthur Laurents, mmususiic bbyy Leonard Bernstein,, posed that the plot focus on the conflict between an Irish libretto/lyrics by Stephen Sondheim, and conception and Catholic family and a Jewish family living on the Lower choreography byby Jerome Robbins..[1] It was inspired by East Side ofof Manhattan,,[6] during the Easter–Passover William Shakespeare's play Romeo and Juliet .. season. The girl has survivvived the Holocaust and emi- The story is set in the Upper West Side neighborhood grated from Israel; the conflict was to be centered around in New York City in the mid-1950s, an ethnic, blue- anti-Semitism of the Catholic “Jets” towards the Jewish “Emeralds” (a name that made its way into the script as collar ne neighighborhood. (In the early 1960s much of thethe [7] neineighborhood would be clecleared in anan urban renewal a reference). Eager to write his first musical, Laurents project for the Lincoln Center, changing the neighbor- immediately agreed. Bernstein wanted to present the ma- hood’s character.)[2][3] The musical explores the rivalry terial in operatic form, but Robbins and Laurents resisted between the Jets and the Sharks, two teenage street gangs the suggestion. They described the project as “lyric the- of different ethnic backgrounds. The members of the ater”, and Laurents wrote a first draft he called East Side Sharks, from Puerto Rico, are taunted by the Jets, a Story. Only after he completed it did the group realize it white gang.[4] The young protagonist, Tony, a former was little more than a musicalization of themes that had member of the Jets and best friend of the gang leader, alreadybeencoveredinin plaplaysys liklikee Abie’s Irish Rose.
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West Side Story
The United States Air Force Academy Bluebards Theatre Troupe Credits Proudly Presents Officer in Charge Lt Col Michelle Ruehl Master Carpenter Jandy Viloria Audio Technician Stan Sakamoto WEST Stage Crew RATTEX Dramaturg Dr. Marc Napolitano SIDE Support Team Flute/piccolo Erica Drakes STORY Bassoon Micaela Cuneo Based on a Conception of Trombone Sam Voss JEROME ROBBINS Violin Jared Helm French Horn Claire Badger Trumpet Josiah Savoie Trombone Braxton Sesler Percussion Matt Fleckenstein Musicians Piano Megan Getlinger Music by Lyrics by Trumpet Sean Castillo Clarinet Rose Bruns Trumpet Tom McCurdy Violin Kat Kowar Violin Matt Meno Entire Original Production Violin Nishanth Kalavakolanu Book by Directed and Choreographed by Bluebards offers its thanks to DFENG, RATTEX, and the Falcon Theater Founda- tion; without their support, this production would not have been possible. The videotaping or other video or audio recording of this production12 is strictly prohibited. 1 Who’s Who in the Cast and Crew “WEST SIDE STORY” not sing or dance, he decided to try out for the spring musical! After Based on a Conception of JEROME ROBBINS taking a year off to search the moon for the secret to great singing and dancing, Kevin has returned to Bluebards (unfortunately, people on the moon dance differently than the people of Earth). He is an avid reader who enjoys nerding-out with fellow nerds about the nerdiest subjects. Book by ARTHUR LAURENTS Kevin would like to thank the cast/crew, with a special nod to Lt Col Music by LEONARD BERNSTEIN Ruehl for ensuring USAFA’s drama nerds have a home in Bluebards.
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WEST SIDE STORY.Pages
2015-2016 SEASON 2015-2016 SEASON Teacher Resource Guide ! and Lesson Plan Activities Featuring general information about our production along with some creative activities Tickets: thalian.org! !to help you make connections to your classroom curriculum before and after the show. ! 910-251-1788 ! The production and accompanying activities ! address North Carolina Essential Standards in Theatre or! Arts, Goal A.1: Analyze literary texts & performances. ! CAC box ofﬁce 910-341-7860 Look! for this symbol for other curriculum connections. West Side Story! ! Book by: Arthur Laurents Music by: Leonard Bernstein Lyrics by: Stephen Sondheim ! ! Based on Conception of: Jerome Robbins! Based on Shakespeare's Romeo and Juliet! October 9-11! and 16-18! ! 7:00 PM Thursday - Saturday! and 3:00PM Saturday & Sunday! Hannah Block Historic USO! / Community Arts Center! Second Street Stage 120 South 2nd Street (Corner of Orange) Resource! About this Teaching Resource! This Teaching Resource is designed to help build new partnerships that employ theatre and the Summery:! arts to address some of today’s pressing issues such as youth violence, bullying, gangs, ! interracial tensions, youth-police relations and cultural conﬂict. This guide provides a perfect ! ! opportunity to partner with law enforcement, schools, youth-based organizations, and community Page 2! groups to develop new approaches to gang prevention.! About the Creative Team, ! Summery of the Musical! About the Musical & Its Relevance for Today! ! Marking its 58th anniversary, West Side Story provides the backdrop to an exploration! Page 3! of youth gangs, youth-police relationships, prejudice and the romance of two young people caught Character & Story Parallels of in a violent cross-cultural struggle.The electrifying music of Leonard Bernstein and the prophetic West Side Story and lyrics of Stephen Sondheim hauntingly paint a picture as relevant today as it was more than 58 Romeo & Juliet ! years ago.
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East Side West Side
WRITINGS OF JOHN MAUCERI JOHNMAUCERI.COM Prologue to Mr. Mauceri's book, "Celebrating West Side East Side, West Side – Story" published by the University of North Carolina School of the Arts 50 Years On How can one measure West Side Story? Do we compare it to the other Broadway shows of 1957? Do we value it because of its influence on music theater? Can we speak of it in terms of other musical versions of Romeo and Juliet? Do we quantify it in terms of the social history of its time? And, most of all, fifty years after its opening night on Broadway, does it mean something important to us today? The answer to all those questions is yes, of course. The fiftieth anniversary of a work of performing art is most telling and significant. That is because after a half century the work has passed out of its contemporary phase and is either becoming a classic or has been forgotten altogether. Fifty years on, members of the original creative team are generally still able to pass on what they experienced once upon a time, and yet, for many, it is an opportunity to experience and judge it for the very first time. Rereading an original Playbill magazine from the week of February 3, 1958 (I was twelve years old when I saw the show), is indeed a cause for multiple surprises and discoveries. Consider the musicals playing on Broadway that week: Bells are Ringing, about a telephone operator; Jamaica, a new Harold Arlen musical with Lena Horne; Li’l Abner, based on a popular comic strip; My Fair Lady with Julie Andrews, New Girl in Town, based on O’Neil’s Anna Christie; Tony Randall starring in Oh, Captain!, based on the Alec Guinness film The Captain’s Paradise; The Music Man with Robert Preston and Barbara Cook.
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West Side Story Previous Recordings
WEST SIDE STORY PREVIOUS RECORDINGS 1957 Original Broadway Cast Recording 1CD (Columbia Masterworks) Carol Lawrence, Larry Kert (songs only) Prologue (3:50), "Jet Song" (2:06), "Something's Coming" (2:37), The Dance at the Gym (3:02), "Maria" (2:37), "Tonight" (3:53), "America" (4:32), "Cool" (3:58), "One Hand, One Heart" (3:02), "Tonight (Quintet)" (3:38), The Rumble (2:44), "I Feel Pretty" (2:46), "Somewhere (Ballet)" (7:33), "Gee, Officer Krupke" (4:02), "A Boy Like That" / "I Have a Love" (4:15), Finale (1:59) 1961 Original Motion Picture Soundtrack 1CD (Sony/Columbia/Legacy) Natalie Wood, Russy Tamblyn (songs only) Overture (4:39), "Jet Song" (2:06), "Something's Coming" (2:32), "Dance at the Gym" (9:24), "Maria" (2:34), "America" (4:59), "Tonight" (5:43), "Gee, Officer Krupke" (4:14), "I Feel Pretty" (3:35), "One Hand, One Heart" (3:02), "Quintet" (3:22),"The Rumble" (2:39), "Somewhere" (2:02), "Cool" (4:21), "A Boy Like That / I Have a Love" (4:28), End Credits (5:05) 1985 Leonard Bernstein Recording 2CD (Deutsche Grammophon) Te Kanawa, Jose Carreras (full score) 77:08 mins. Cast recording. Includes 21:38 mins. symphonic suite from "On the Waterfront” 1993 London Studio recording 1CD (Warner Classics) Michael Ball, Barbara Bonney (songs only) Prologue (4:42), "Jet Song" (2:47), "Something's Coming" (2:29), The Dance at the Gym: Blues (2:03) / Promenade (0:20) / Mambo (2:19) / Cha-Cha (1:01) / Meeting Scene (1:29) / Jump (1:00), "Maria" (3:03), Balcony Scene ("Tonight") (5:55), "America" (5:01), "Cool" (5:01), "One Hand, One
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Removing the Makeup: a Gritty, Culturally
Removing the Makeup: A Gritty, Culturally Conscious Take on A Classic By Samara Harand, Victoria Schwarzl, and Claudia Stuart Removing the Makeup: A Gritty, Culturally Conscious Take on A Classic Their hope only leads to tragedy when, after trying to By Samara Harand, Victoria Schwarzl, and Claudia Stuart stop a rumble between the gangs, Bernardo kills Riff (Tony’s best friend) leading Tony to slay Bernardo in return. Maria agrees to run away with Tony, but through a horrific turn of events Tony is mistakenly Before a small crowd at the New 42 nd Street informed that she has been murdered by Chino Studios, Tony-winning director Arthur Laurents (Maria’s suitor and Bernardo’s best friend). Tony sets the scene for the afternoon. He describes the takes to the streets in hopes of reaching the same fate, elaborate set pieces and praises his company, but just as Maria appears and they run to embrace, teasing that this show would be completely Chino shoots him. He dies in Maria’s arms as they sing different than anything ever attempted before. of a better world “Somewhere.” Unlike Shakespeare’s This select group would be the first to see his new Juliet, Maria does not take her own life, but her Broadway revival of West Side Story - the breakdown and threats of violence lead the gangs to celebrated musical for which he wrote the book contemplate their actions and perhaps move towards a and now directs for the first time on Broadway. state of peace. The themes of forbidden love and racial Prior to the first note of Leonard Bernstein’s intolerance still resonate with audiences today, making timeless score, Cody Green takes the floor as it one of the most oft-performed and studied “Riff” and it is immediately apparent that productions in the musical theater canon.
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Ju&Uaj (L-Csv
Heritage and Innovation of Harmony: A Study of West Side Story By Nathan Miller Spring 2006 JU&UAJ (L-CSV: Gloria Cox . Cho /•% Nathan Miller, Senior Miller 2 containing: What I'm Trying to Say 3 The Work Itself 4 Twentieth Century Musical Theater 8 Atonality, Serialism, and the Twentieth Century Composers 13 The Composer 22 The Music 25 Tonality in West Side Story: A Case Study 40 Atonality: What do we do with it? 46 Conclusion 53 Miller 3 What I'm Trying to Say There are two ideas being explored in this paper: one is the state of music and musical theater in the Western world at the time that West Side Story was written. The other is how the music of West Side Story fits into that timeline, and more specifically, how it answers the proposed questions of the day. There are really two parallel universes being considered: one is the world of musical theater, and the other is the world of serious art music. I feel certain that one of these must be more important than the other for this topic, but I cannot determine which. Personally, I see the events and ideas in the world of serious art music as "setting the stage" for a tremendously exciting drama within the twentieth century—a drama in which West Side Story and its composer Leonard Bernstein were active participants. That issue is also more interesting to me as a musician. However, in my research, most literature and commentary on West Side Story views it in the context of what was happening in the musical theater world, where regardless of my personal feelings, West Side Story certainly made a bigger sensation.
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Sung by the Jets: Riff, Snowboy, Ice)
AAP: Music West Side Story – December 4, 2017 1957 musical by Arthur Laurents (book/script), Leonard Bernstein (music), Stephen Sondheim (lyrics), Jerome Robbins (choreography) • Other musicals by Stephen Sondheim (b. 1930): A Funny Thing Happened on the Way to the Forum (1962), Follies (1971) Company (1970), Sweeney Todd (1979), Into the Woods (1987) 1961 film – directed by Jerome Robbins • Won Academy Award (Oscars) for Best Picture (10 awards total) Plot: • Set in New York City • Based on William Shakespeare’s Romeo and Juliet • Main characters are rivals in two gangs: Jets (Gang of white teenagers) Sharks (Gang of Puerto Rican teenagers) Tony – falls in love with Maria Maria – falls in love with Tony Riff – Tony’s best friend and leader of the Bernardo – Maria’s brother and leader of the gang gang Chino – Maria’s fiancé in an arranged marriage Anita – Bernardo’s girlfriend Themes of the musical: Gang violence Tension between different ethnic groups The immigrant experience in America The excitement of becoming an adult Tension between teenagers and adults or authority figures (like police officers) The songs in a musical help you get to know the characters through what they say and their musical style. “Jet Song” (sung by the Jets: Riff, Snowboy, Ice) RIFF You’re home with your own-- When you’re a Jet, When company’s expected, You’re a Jet all the way You’re well protected! From your first cigarette Then you are set To your last dyin’ day. With a capital J, When you’re a Jet, Which you’ll never forget Let them do what they can, Till they cart you away.
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Using West Side Story As a Model
7. Putting It Together (“Tonight”) IN THIS LESSON • How the pieces of the book fit together and relate to the central theme of the story • How the music relates to the characters and the plot while providing variety • How the lyrics particularize individual moments in the show to explore character or advance the plot Overview The song that accompanies this chapter is the “Tonight” sequence from West Side Story, a musical scene that explores the individuals (Tony, Maria, Anita) and the groups (Sharks and Jets) and how their plans either intersect or diverge. It is a fine example of how a single word can be used by different characters in different ways to create tension and audience expectations, driving the plot forward. The Pieces of the Book The action of West Side Story (book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim) takes place in a two-day time period. It goes from 5:00 p.m. the first day through 9:00 p.m. the next night in Act I. Act two begins at 9:15 p.m. and ends at midnight the same day, compressing the time and accelerating the action. Although the show is very cleverly based on Shakespeare’s Romeo And Juliet, we will not discuss the ingenuity of the adaptation here. Instead, we will focus on the structure of the show and how the structure holds the audience’s interest. This very serious musical has a very simple structure: Act I Prologue: Music and dance show the Jets and their territory being invaded by the Sharks, a rival gang.
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Introduction
Paul Laird Introduction During the 2007-2008 academic year, the University of Kansas celebrat• ed the fiftieth anniversary of Murphy Hall, its music and theatre building. The occasion brought about fruitful collaborations between the two disci• plines. In November 2007, there was a joint production of The Music Man (which had opened on Broadway fifty years before, in December 1957) and a corresponding symposium, "Musical Theatre in 1957." The latter brought together scholars from throughout the country to consider in detail the year that included the birth of West Side Story as well as The Music Man. Another part of the celebration in the Department of Music and Dance was a doctoral seminar on the Broadway musical in the 1950s. This collection of four essays came out of that seminar, where graduate students in musicol- ogy, performance, and music theory approached many shows from different angles. The seminar students, as well as the scholars who visited campus for the symposium, benefited greatly from how popular musical theatre scholarship has become in the last few decades, and in this issue of the American Music Research Center Journal the students are proud to offer their own contributions in this growing field. The purpose of this introductory essay is to consider the nature of that field, what it is that scholars strive to achieve in their work on musical the• ater, a genre that millions enjoy as entertainment without scholarly explana• tions. It is axiomatic that one can love musicals like West Side Story and The Music Man without deep understanding of, for example, the show's history, its dramaturgy, the way the music helps to tell the story, or the principal influences upon the choreographer or director.
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American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLVIII, Issue 1 Fall 2018 Genre and Stylistic Expectations in the Musical Theater of Leonard Bernstein Paul Laird, The University of Kansas As a composer, Leonard Bernstein never felt constrained by expectations of genre. One of the few American composers to make meaningful contributions both in concert music and the Broadway theater, he forged his own path in terms of what type of composition he should write. Of Bernstein’s three symphonies, each was programmatic and also unusual in form and conception. The first, “Jeremiah” (1942), told the story of the ancient Hebrew prophet’s warnings about Israelites turning away from God, capped by a finale with a solo mezzo-soprano mournfully singing Jeremiah’s Lamentations. Symphony No. 2, “The Age of Anxiety” (1949), inspired by W. H. Auden’s introspective poem by the same name, followed the poem’s structure fairly closely, but with extensive writing for solo piano, making the piece closely resemble a piano concerto. “Kaddish” (1963), the third symphony, is like an oratorio, combining three settings of an important Jewish prayer with narrator, mezzo- soprano soloist, chorus, and orchestra, addressing nothing less than the relationship between God and humans and the threat of nuclear annihilation, among other issues. Bernstein never really could decide whether he was a conductor, composer, pianist, or music educator, pursuing all of these careers Candide Playbill, 1956 while sometimes leaning more in one or two directions.
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A Guide to the Ramón Hernández Tejano Music Collection, 1922-2019
A Guide to the Ramón Hernández Tejano Music Collection, 1922-2019 Collection 141 Descriptive Summary Creator: Ramón Hernández Title: Ramón Hernández Tejano Music Collection Dates: 1922-2019 [Bulk dates, 1985-2019] Abstract: The Ramón Hernández Tejano Music Collection spans from 1922-2019 and is organized into twelve series. The collection documents the history of Tejano, conjunto, and orquesta music predominately in Texas (although musicians from around the world are represented). The bulk of the material relates to musicians’ publicity material, but all aspects of the business of Tejano music, including record labels, media outlets, publications, and events are also well-represented. The costume collection consisting of stage outfits is also of note. Identification: Collection 141 Extent: 253 boxes, plus oversize, framed items, and artifacts (approx. 175 linear feet) Language: English, Spanish, Japanese Repository: The WittliFF Collections, Texas State University Administrative Information Access Restrictions Open for research. Preferred Citation Ramón Hernández Tejano Music Collection, The Wittliff Collections, Texas State University Acquisition Information Purchase, 2017 Processing Information Processed in 2019-2020 by Susannah Broyles, with assistance from Roman Gros and Kyle Trehan. Notes for Researchers The Ramón Hernández Music Recording Collection includes 45s, LPs, audiocassettes, and CDs and is Collection 141b. The contents are included as an appendix to this collection. Some publications have been transferred to the Wittliff’s book collection and are available through the library’s online catalog. Guide to the Ramón Hernández Tejano Music Collection (Collection 141) 2 Ramón Hernández Biographical Notes Ramón Hernández (1940-) became an authority on Tejano music through his work as a journalist, photographer, publicist, collector, and musicologist.
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