It takes an expert to measure Broadway’s influence on Hollywood and vice versa, but American author Ethan Mordden has the knowledge and inimitable wit to do so. In “When Broadway Went to Hollywood,” Mordden takes us behind the scenes of the great Hollywood musicals we have loved for years and discusses the impact of Broadway musicals on the movie industry.
Broadway is the theatrical district in New York City that is well-known for being the American capital of musical theater and in this book, readers gain insight into how the influx of immigrants shaped this thriving creative hub.
During the 19th century, German and Scandinavian immigrants who entered the US moved to the Midwest where a large portion became farmers. The Irish, Italian and Jewish newcomers preferred to settle in the cities of the Northeast and many moved into the entertainment business, according to the book. In the 1920s, black talent also joined in to create a multi-cultural melting pot.
It was “The Jazz Singer” that started it all. Made in 1927, it was the first movie to feature sound sequences. Originally, the lead role was given to actor George Jessel. But Jessel is said to have made demands and Warner Brothers replaced him with Al Jolson. Al Jolson could sing and had an “electrifying” presence on stage, he had the power and the talent to let “the vocals leap off the screen, take the audience into the future,” writes Mordden. Jonson sang the song “Blue Skies” and it was an immediate hit with audiences.
“This is the song that invented the Hollywood musical as the centerpiece of The Jazz Singer’s most effective sound sequence,” explains Mordden. Written by Irving Berlin, whose first songs date back to 1907, “Blue Skies” and its emotionally-charged scene was the highlight of the film. “Like him or not, he has the energy that set the Hollywood musical on the way to the rest of its life.”
Irving Berlin soon discovered that Hollywood could not offer creative freedom due to the constant interference of studio chiefs and producers. However, Berlin got lured back to Hollywood to work on “Top Hat,” which only features five of his songs.
George Gershwin and his brother Ira were also part of a limited number of Broadway professional songwriters working for Hollywood. Gershwin’s fate was sealed during a concert entitled “An Experiment in Modern Music.” Heavyweights in Manhattan attended this unique event to hear Gershwin’s latest opus, “A Rhapsody in Blue.” It was a triumph and it got Gershwin on the cover of Time magazine. As expected, he was soon in high demand in Hollywood.
Cole Porter is another famous songwriter, but unlike other Broadway talents, he loved Hollywood. During an interview with American journalist Dorothy Kilgallen, he said: “When I first came here they told me, ‘You’ll be so bored you’ll die, nobody talks about anything but pictures.’ After I was here a week, I discovered I didn’t want to talk about anything else myself.”
Porter’s collaboration with Metro-Goldwyn-Mayer (MGM) worked out well thanks to the company’s decision to pair him with composer-arrangers Herbert Stothart and Roger Edens. “Their imagination in putting a number together with full awareness of how the music affects the optics was elemental in the dominance of the MGM musical,” writes Mordden.
From 1940 to 1949, another golden age began due to MGM’s musicals such as “Meet me in St. Louis” and “The Pirate.” From 1950 to 1959, Broadway adaptations become more popular than ever, but the breakup of the studio system with its music departments meant that musicals were more expensive to produce. Between 1960 and 1975, Hollywood experienced a golden era with the production of great musicals such as “West Side Story,” “My Fair Lady” and “The Sound of Music.”
From 1976 to the present, Hollywood has flooded Broadway with stage versions of original Hollywood musicals such as “Gigi,” “Singin’ in the Rain” and “Footloose.” Hollywood also produced movie versions of famous Broadway shows, such as “Annie,” which was a hit on Broadway from 1977 to 1983. This should have been an easy production until John Huston was hired to direct the movie. The choreography in Annie involved lots of non-athletic acrobatics who lacked grace and beauty and some of the show’s best numbers were dropped. “It was an expensive mistake at the cost of something like a million dollars, and one of the reasons Annie did good business and still lost money,” Mordden wrote of the expensive movie-making process and the talented stars who came on board but whose suggestions were never used.
Fast forward to today and “La La Land,” a musical specially written for the silver screen, has been a resounding success. “Musicals are back,” writes Mordden. but had they ever disappeared? Can they disappear? With the crushing pressure of world events, we all need a place to escape to.
Book Review: How Broadway took Hollywood by storm
Book Review: How Broadway took Hollywood by storm
Book Review: ‘Horror on the Brain’ by Austin Lim
Why do we get a kick out of being scared? Why do we find it difficult to look away from a train wreck? In “Horror on the Brain: The Neuroscience Behind Science Fiction,” neuroscientist Austin Lim takes a scalpel to that question — examining fear, not just as a feeling nor merely as a survival mechanism, but as a thrill, and even a form of entertainment.
Published recently by Prometheus Books, the work dives into the science of what horror does to our brains and why we keep coming back for more.
“Curiosity exists only because of the unknown. Conveniently, the unknown is also the birthplace of horror,” writes Lim. “Even before literacy, people had been making haunting ‘what-if’ stories about the biggest unknowable: what happens after death.”
I was hooked.
Lim, who teaches neuroscience at DePaul University in the US, has made a career of blending biology with pop culture. He brings that dynamic energy to this book, cutting through academic jargon to explain the science behind it: how blood, suspense and dread dig into our brain’s deepest wiring. And why.
Each chapter dissects a different horror hallmark: jump scares, body horror, creepy music, monsters — even killer AI. Lim shows how horror stories hijack our neural pathways, from the amygdala’s panic response to the brain’s craving for novelty and resolution.
He argues that horror is more than shock value; it is a mental playground where we rehearse danger, confront taboos and make sense of the world’s chaos. Being scared jumpstarts us. Like a rollercoaster, that rush of blood and brush with danger make us feel alive.
Among the most provocative insights is his take on gore and violence. Why do we flinch — yet keep watching?
Lim explains how exposure to violence can affect empathy; how cultural background shapes what we fear and why some viewers are desensitized, while others are rattled for days.
“Horror on the Brain” is part neuroscience, part social commentary. A wicked read.
Lim also unpacks horror in literature and speculative fiction, tracing how science fiction from “Frankenstein” to “Black Mirror” taps into the same neural circuitry as slasher films.
Lim’s writing is sharp and crystal clear. You do not need a science degree to follow — just a curious mind and maybe a strong stomach.
This book will make you think twice about what really makes your skin crawl — and why you like it.
What We Are Reading Today: ‘Dragonflies of North America’ by Ed Lam
Dragonflies are large and beautiful insects, diverse in color and pattern. This premier field guide provides all the information you need to identify every male and female dragonfly found in North America, whether in the field, in the hand, or under the microscope.
The extensive illustrations are the heart of the book. Close-up color portraits of each species, often several times life size, show the best possible specimens for close examination.
What We Are Reading Today: Little Bosses Everywhere by Bridget Read
In “Little Bosses Everywhere,” journalist Bridget Read tells the gripping story of multilevel marketing in full for the first time.
“Little Bosses Everywhere” exposes the deceptions of direct-selling companies that make their profit not off customers but off their own sales force.
The book lays out an almost prosecutorial case against many multilevel marketing schemes, explaining why regulators need to take the industry seriously, and the larger story it tells about whom the economy has set up to fail.
The book “reads like a thriller as it investigates the birth and growth of this shadowy and sprawling industry that polished up door-to-door sales with a new veneer of all-American entrepreneurialism,” said a review in The New York Times.
The book primarily focuses on a broader analysis of pyramid schemes and their history.
What We Are Reading Today: ‘King Leopold’s Ghostwriter’
Author: Andrew Fitzmaurice
Eminent jurist, Oxford professor, advocate to the Archbishop of Canterbury, Travers Twiss (1809–1897) was a model establishment figure in Victorian Britain, and a close collaborator of Prince Metternich, the architect of the Concert of Europe.
Yet Twiss’s life was defined by two events that threatened to undermine the order that he had so stoutly defended: a notorious social scandal and the creation of the Congo Free State.
In “King Leopold’s Ghostwriter,” Andrew Fitzmaurice tells the incredible story of a man who, driven by personal events that transformed him from a reactionary to a reformer, rewrote and liberalized international law—yet did so in service of the most brutal regime of the colonial era.
In an elaborate deception, Twiss and Pharaïlde van Lynseele, a Belgian prostitute, sought to reinvent her as a woman of suitably noble birth to be his wife. Their subterfuge collapsed when another former client publicly denounced van Lynseele.
Book Review: ‘Oil Leaders’ by Dr. Ibrahim Al-Muhanna
Dr. Ibrahim Al-Muhanna’s book, “Oil Leaders: An Insider’s Account of Four Decades of Saudi Arabia and OPEC’s Global Energy Policy,” offers a detailed narrative of the oil industry’s evolution from a Saudi perspective, drawing on the author’s four decades of experience.
Published in 2022, the book coincides with global energy crises triggered by the COVID-19 pandemic and the Russian invasion of Ukraine.
Al-Muhanna relies on data from OPEC, the International Energy Agency and interviews to provide an anecdotal biography of key figures who shaped oil politics, targeting a broad audience including policymakers, researchers and industry professionals.
The book is divided into 11 chapters, beginning with the influential role of Saudi Oil Minister Ahmed Zaki Yamani, whose overconfidence and perceived indispensability are critically examined.
Subsequent chapters highlight other pivotal figures, such as Hisham Nazer, Yamani’s successor, and delve into events such as the 1991 Gulf War.
The narrative also covers Luis Giusti, of Venezuela’s PDVSA, whose disregard for OPEC quotas sparked tensions, and discusses OPEC’s struggles with production cuts and falling oil prices in the late 1990s, which led to economic crises in oil-exporting nations such as Saudi Arabia and Venezuela.
Al-Muhanna explores the political ramifications of oil price fluctuations, noting how high prices influenced US presidential elections and shaped diplomatic interactions, such as George W. Bush’s visit to Riyadh.
The book also examines the rise of Russia under Vladimir Putin, the privatization of Saudi Aramco as part of Vision 2030, and the roles of contemporary leaders such as Saudi crown prince Mohammed bin Salman and former US President Joe Biden in shaping global energy policy.
