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Matches in DBpedia 2014 for { ?s ?p "No Way to Stop It" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music, but not included in the later film version from 1965. It was introduced in the show by Marion Marlowe, Kurt Kasznar and Theodore Bikel. It is sung by Max Detweiler and Elsa Schrader, with Georg von Trapp joining in later in the song. The song is often compared with, and spoken of in conjunction with, fellow The Sound of Music song, "How Can Love Survive?"; in addition to addressing the relationship between Georg and Elsa, the two songs are the only ones which Max and Elsa sing and both were omitted from the film version of the story. The satiric cynical number, which is about "amoral political compromising" (and in fact an anti-protest song), is theorised by Broadway Musicals: A Hundred Year History to be the first-ever rock song to be introduced to a Broadway musical. The book cites its similarity to songs by the Kingston Trio from around that time. The song, along with "How Can Love Survive" (which was also cut from the film), was cited in The Oxford Companion to the American Musical: Theatre, Film, and Television as an example of Rodgers and Hammerstein's "wry sense of sophistication". The American Musical and the Formation of National Identity compares the song to So What? from Cabaret, in that they both "articulate [the] general sense of indifference among many constituencies that would eventually allow the Third Reich to expand its influence beyond the point of return". Both these songs include the theme of obsessive circular motion in order to create a sense of inevitability. In the case of "No Way to Stop It", the lyrical motif is the orbit of various satellites, and by the end of the song, it is implied that "I" is the centre of the universe. As a result of this duet (in which the Captain and the Baroness "attempt to work out their competition and the complexities of a dually rich marriage") being cut from the film: class and political tensions are eliminated, secondary characters become less complex, and Maria and the children most of the film's focus.. }

• No_Way_to_Stop_It abstract ""No Way to Stop It" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music, but not included in the later film version from 1965. It was introduced in the show by Marion Marlowe, Kurt Kasznar and Theodore Bikel. It is sung by Max Detweiler and Elsa Schrader, with Georg von Trapp joining in later in the song. The song is often compared with, and spoken of in conjunction with, fellow The Sound of Music song, "How Can Love Survive?"; in addition to addressing the relationship between Georg and Elsa, the two songs are the only ones which Max and Elsa sing and both were omitted from the film version of the story. The satiric cynical number, which is about "amoral political compromising" (and in fact an anti-protest song), is theorised by Broadway Musicals: A Hundred Year History to be the first-ever rock song to be introduced to a Broadway musical. The book cites its similarity to songs by the Kingston Trio from around that time. The song, along with "How Can Love Survive" (which was also cut from the film), was cited in The Oxford Companion to the American Musical: Theatre, Film, and Television as an example of Rodgers and Hammerstein's "wry sense of sophistication". The American Musical and the Formation of National Identity compares the song to So What? from Cabaret, in that they both "articulate [the] general sense of indifference among many constituencies that would eventually allow the Third Reich to expand its influence beyond the point of return". Both these songs include the theme of obsessive circular motion in order to create a sense of inevitability. In the case of "No Way to Stop It", the lyrical motif is the orbit of various satellites, and by the end of the song, it is implied that "I" is the centre of the universe. As a result of this duet (in which the Captain and the Baroness "attempt to work out their competition and the complexities of a dually rich marriage") being cut from the film: class and political tensions are eliminated, secondary characters become less complex, and Maria and the children most of the film's focus.".