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Critical analysis of west side story
Lgbt media portrayal
Representation of gays/lesbians in cinema
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When West Side Story was released in 1957 there were several different prominent problems in society; like the Cold War, the Civil Rights movement, gang violence, and juvenile delinquency. However, there were other issues that were ignored, considered irrelevant, and disregarded as worthless like the discrimination against homosexuality and people who identified as transgender, transsexual or gender-nonconforming. Leonard Bernstein was the composer of West Side Story and unquestionably America's best-known classical musician. Yet his achievements were viewed with persistent skepticism by critics and scholars. They acknowledged his talents--he was equally gifted as a conductor, a pianist, and a composer of music for both the concert hall and …show more content…
He faced homophobia from his mentor's, wife and peers. Additionally, according to Terry Teachout, as a composer, his achievements were viewed with persistent skepticism by critics and scholars his underlying seriousness was always in question; mainly because of his controversial sexuality. Though he was a homosexual however, he was married to Felicia Cohn Montealegre. According to Joan Peyser in BERNSTEIN: A Biography, wrote that before Bernstein was exposed to West Side Story he had a sexuality that has long since been ambiguous and undefined; a fine line between hetero- and homosexuality (23). Furthermore, mentioned Bernstein dealt with persons typical attitude towards homosexuality; the behavior was considered shameful, reprehensible (159-164). Serge Koussevitzky; developer of musical programs at Tanglewood, emphasized in his lectures to the conducting students like Bernstein the importance of feeling clean before the conductor mounts the podium. Feeling clean meant, at the very least, feeling heterosexual. Bernstein was treated like he was another, that he wasn’t human. The Leonard Bernstein Letters Bernstein's wife, actress Felicia Montealegre sent him a letter, confessing her knowledge of Bernstein's sexuality, one thing she wrote to him is “you are a homosexual and may never change” and “I happen to love you very much—this may be a disease and if it is what better cure?” (624). Bernstein’s sexuality is treated like a disease, something that could be cured. Similar to in “Gee, Officer Krupke” which mentions having a social disease especially when Riff says “no one wants a fella with a social disease”. Bernstein had a difficult marriage having to deal with pressure from society and his own wants. In 1976, the couple separated and Bernstein moved in with a young musician named Tom Cothran—Felicia was angry and supposedly let him know: “You’re going to die a bitter and lonely
For a society that was now being defined by radically changing racial and ethnic diversity, the music that bore the label of “American” by definition required that multiplicity of cultures. Gershwin’s and Copland’s compositions both epitomize this idea because they were so successful in defining and uniting diverse elements of American culture into their arrangements, giving the American music scene a new exclusive tradition of both foreign sounds and exotic rhythms.
But he does not simply dispel the myths of early 20th century gay life, he also details such myths to...
... homosexual being felt in the world around the 1970’s and 1980’s. The time period in which this play was written was one of great dissonance to the LGBT movement. For Harvey Fierstein to be so bold and public with his own lifestyle was truly admirable and brave. Fierstein shows us that ignorance can destroy a life because of what is unknown.
Samuel worked for his uncle in a barber's shop and quickly picked up the trade. He soon found himself accepting a job in Boston and starting his own company called the Samuel Bernstein Hair Company. Soon after he married Jennie Resnick in 1917, also of Jewish descent. She had lived in America since the age of seven and her family lived in Lawrence. The couple moved back to Boston after marriage but soon returned to Lawrence i...
Most of all, those values that the American musical celebrated — and that is those values of American life, American philosophy, American belief — what we find is by the mid-1960s all of those beliefs, all of those philosophies, are being challenged, are being upset. As in all genres, the musical has had its share of failures. Some worthy dramas have been pressed into service and musicalized and sometimes butchered in the process, and audiences have had to watch a fine play diluted into a mediocre musical. But the successes have been many and spectacular, and they have left a long lasting effect on the American art and culture.
West Side Story suffered a doubtful early history before it made its first Broadway appearance in 1957. The musical was not appealing to potential investors because it was considered too dark and ugly to be commercially viable; its gritty realism and tragic ending seemed too serious to become mainstream. West Side Story dealt with serious subjects—bigotry, race, rape, murder, and death—in a more direct way than Broadway had seen before. Although it did not initially seem possible, West Side Story successfully synthesizes the large tradition of Broadway with the relevancy of Hispanic immigration and juvenile delinquency of the 1950s.
In readiness for the concert, I enjoyed a special dinner prepared for the audience. More specifically, LA Phil staffers introduced us to the evening classical concert amidst cheers from the audience. It was such a refreshing and joyous feeling to be part of this audience. The pianist and concert conductor, Christian Zacharias opened the Los Angeles Philharmonic Classical Music concert with a fascinating performance that left the audience in party mood and in happy feelings.
appreciation. Because of these composers and musicians, music was enjoyed by the public and revered by the church. Because of their creativity and their willingness to take musical risks, these composers were the fathers of the Renaissance, the rebirth, the life of the vigorous and intellectual activity, the beginning of music.
Life for most homosexuals during the first half of the Twentieth century was one of hiding, being ever so careful to not give away their true feelings and predilections. Although the 1920s saw a brief moment of openness in American society, that was quickly destroyed with the progress of the Cold War, and by default, that of McCarthyism. The homosexuals of the 50s “felt the heavy weight of medical prejudice, police harassment and church condemnation … [and] were not able to challenge these authorities.” They were constantly battered, both physically and emotionally, by the society that surrounded them. The very mention or rumor of one’s homosexuality could lead to the loss of their family, their livelihood and, in some cases, their lives. Geanne Harwood, interviewed on an National Public Radio Broadcast commemorating the twentieth anniversary of the Stonewall Riots, said that “being gay before Stonewall was a very difficult proposition … we felt that in order to survive we had to try to look and act as rugged and as manly as possibly to get by in a society that was really very much against us.” The age of communist threats, and of Joseph McCarthy’s insistence that homosexuals were treacherous, gave credence to the feeling of most society members that homosexuality was a perversion, and that one inflicted was one to not be trusted.
The musicals that were produced around that time period were meant to be strictly for entertainment, for the most part. It was a very brave move for the creative team of this musical to tackle themes like racism, violence, and death. The risk definitely paid off, because even today West Side Story still remains a very popular musical. The main message that this show is trying to convey to the audience is that it shouldn’t take a horrible tragedy to finally unite people. Just because someone may not look the same way you do, or act the same way, or share your same belief system, that doesn’t mean you have to be fearful of them. Instead we should try our hardest to embrace the fact that this world would be a very boring place without a little diversity, and it’s ok to celebrate the things that make us
Anderson had a very strong musical education. At age eleven he began piano lessons and music studies at the New England Conservatory of Music in Cambridge. At his high school graduation from the Cambridge High and Latin School, Anderson composed, orchestrated, and conducted his class song. In 1925 he entered Harvard College. While at Harvard he studied musical harmony with Walter Spalding, counterpoint with Edward Ballantine, canon and fugue with William C. Heilman, and orchestration with Edward B. Hill and Walter Piston. Between 1926 and 1929 he played trombone for the Harvard University Band. He eventually became the director of the Harvard University Band for four years. In 1929 Anderson received a B.A. magna cum laude in Music from Harvard. The magna cum laude is the next-to-highest of three special honors for grades above the average. He was also elected into Phi Beta Kappa. Anderson continued into graduate school at Harvard. In 1930, he earned an M.A. with a major in music. He began studying composition with Walter Piston and Georges Enesco; organ with Henry Gideon and double bass with Gaston Dufresne of the Boston Symphony Orchestra. As well as his studies in music, he continued for his PhD in German and Scandinavian languages. He ultimately mastered Danish, Norwegian, Icel...
Classical music can be best summed by Mr. Dan Romano who said, “Music is the hardest kind of art. It doesn't hang up on a wall and wait to be stared at and enjoyed by passersby. It's communication. Its hours and hours being put into a work of art that may only last, in reality, for a few moments...but if done well and truly appreciated, it lasts in our hearts forever. That's art, speaking with your heart to the hearts of others.” Starting at a young age Johann Sebastian Bach and Ludwig van Beethoven have done just that with their musical compositions. Both musical composers changed the world of music and captivated the hearts of many. Their love of composing shared many similar traits, though their musical styles were much different.
“The unprecedented growth of the gay community in recent history has transformed our culture and consciousness, creating radically new possibilities for people to ‘come out’ and live more openly as homosexuals”(Herdt 2). Before the 1969 Stonewall riot in New York, homosexuality was a taboo subject. Research concerning homosexuality emphasized the etiology, treatment, and psychological adjustment of homosexuals. Times have changed since 1969. Homosexuals have gained great attention in arts, entertainment, media, and politics. Yesterday’s research on homosexuality has expanded to include trying to understand the different experiences and situations of homosexuals (Ben-Ari 89-90).
Wells, E A. (2011) West Side Story Cultural Perspectives on an American musical. Maryland: Scarecrow Press, Inc.
Stein, Edward. The Mismeasure of Desire: The Science, Theory, and Ethics of Sexual Orientation. New York, NY: Oxford UP, 1999. Print. 20 Oct. 2011