When films like The Jazz Singer started to integrate synchronized music, in the late 1920s many ambitious songwriting pioneers of the Great White Way - George and Ira Gershwin, Cole Porter, Richard Rodgers, and Lorenz Hart, among many others - were enticed westward by Hollywood studios' promises of national exposure and top dollar success. But what happened when writers native to the business of Broadway ran into the very different business of Hollywood? Their movies had their producer despots, their stacking of writing teams on a single project, their use of five or six songs per story where Broadway fit in a dozen, and it seemed as if everyone in Hollywood was uncomfortable with characters bursting into song on the street, in your living room, or in "a cottage small by a waterfall." Did the movies give theater writers a chance to expand their art, or did mass marketing ruin the musical's quintessential charm? Is it possible to trace the history of the musical through both stage and screen manifestations, or did Broadway and Hollywood give rise to two wholly irreconcilable art forms? And, finally, did any New York writer or writing team create a film musical as enthralling and timeless as their work for the stage? In When Broadway Went to Hollywood, writer and celebrated steward of musical theatre Ethan Mordden directs his unmistakable wit and whimsy to these challenging questions and more, charting the volatile and galvanizing influence of Broadway on Hollywood (and vice versa) throughout the twentieth century. Along the way, he takes us behind the scenes of the great Hollywood musicals you've seen and loved (The Wizard of Oz, Gigi, The Sound of Music, Chicago, West Side Story, The Music Man, Grease) as well as some of the outrageous flops you probably haven't. The first book to tell the story of how Broadway affected the Hollywood musical, When Broadway Goes to Hollywood is sure to thrill theatre buffs and movie lovers alike.
From the late 1920s to late 1950s, the Broadway theatre was America's cultural epicenter. Television didn't exist and movies were novelties. Entertainment took the form of literature, music, and theatre. During this golden age of Broadway, actors and actresses became legends and starred in now classic plays. Laurence Olivier, Alfred Lunt and Lynne Fontaine were names to remember, etching plays into memory as they brought the words of Tennessee Williams or Eugene O'Neill to life. Joseph Cotton romanced Katherine Hepburn in Philip Barry's The Philadelphia Story while Laurette Taylor became The Glass Menagerie's Amanda Wingfield. Frederic March, Florence Eldridge, Jason Robards Jr. and Bradford Dillman showed us life among the ruins in Long Day's Journey Into Night. In All That Glittered, Ethan Mordden, long one of Broadway's best chroniclers, recreates the fascinating lost world of its golden age.
Our criminal justice system favors defendants who know how to play the "5K game": criminals who are so savvy about the cooperation process that they repeatedly commit serious crimes knowing they can be sent back to the streets if they simply cooperate with prosecutors. In Snitch, investigative reporter Ethan Brown shows through a compelling series of case profiles how the sentencing guidelines for drug-related offenses, along with the 5K1.1 section, have unintentionally created a "cottage industry of cooperators," and led to fabricated evidence. The result is wrongful convictions and appallingly gruesome crimes, including the grisly murder of the Harvey family in Richmond, Virginia and the well-publicized murder of Imette St. Guillen in New York City. This cooperator-coddling criminal justice system has ignited the infamous "Stop Snitching" movement in urban neighborhoods, deplored by everyone from the NAACP to the mayor of Boston for encouraging witness intimidation. But as Snitch shows, the movement is actually a cry against the harsh sentencing guidelines for drug-related crimes, and a call for hustlers to return to "old school" street values, like: do the crime, do the time. Combining deep knowledge of the criminal justice system with frontline true crime reporting, Snitch is a shocking and brutally troubling report about the state of American justice when it's no longer clear who are the good guys and who are the bad.
Ethan Mordden has been hailed as "a sharp-eared listener and a discerning critic," by Opera News, which compares his books to "dinner with a knowledgeable, garrulous companion." The "preeminent historian of the American musical" (New York Times), he "brings boundless energy and enthusiasm buttressed by an arsenal of smart anecdotes" (Wall Street Journal). Now Mordden offers an entirely fresh and infectiously delightful history of American musical theatre. Anything Goes stages a grand revue of the musical from the 1700s through to the present day, narrated in Mordden's famously witty, scholarly, and conversational style. He places us in a bare rehearsal room as the cast of Oklahoma! changes history by psychoanalyzing the plot in the greatest of the musical's many Dream Ballets. And he gives us tickets for orchestra seats on opening night-raising the curtain on the pleasures of Victor Herbert's The Red Mill and the thrill of Porgy and Bess. Mordden examines the music, of course, but also more neglected elements. Dance was once considered as crucial as song; he follows it from the nineteenth century's zany hoofing to tap "combinations" of the 1920s, from the injection of ballet and modern dance in the 1930s and '40s to the innovations of Bob Fosse. He also explores the changing structure of musical comedy and operetta, and the evolution of the role of the star. Fred Stone, the avuncular Scarecrow in the Wizard of Oz, seldom varied his acting from part to part; but the versatile Ethel Merman turned the headlining role inside out in Gypsy, playing a character who was selfish, fierce, and destructive. From "ballad opera" to burlesque, from Fiddler on the Roof to Rent, the history and lore of the musical unfolds here in a performance worthy of a standing ovation.
In September 1862 the Confederate Army of Northern Virginia and the Union Army of the Potomac conducted one of the truly great campaigns of the Civil War. At South Mountain, Harpers Ferry, and Antietam, North and South clashed in engagements whose magnitude and importance would earn this campaign a distinguished place in American military history. The siege of Harpers Ferry produced the largest surrender of U.S. troops in the nation's history until World War II, while the day-long battle at Antietam on September 17 still holds the distinction of being the single bloodiest day of combat in Amer.
Vividly recreating the unique pleasure of experiencing a song-and-dance show, Broadway Babies spotlights the men and women who made a difference in the development of American musical comedy. Mordden's account features such show people as Florenz Ziegfeld, Harold Prince, Bert Lahr, Gwen Verdon, Angela Lansbury, Victor Herbert, Liza Minnelli, and Stephen Sondheim, and such musicals as Sally, Oh Kay!, Anything Goes, Show Boat, Oklahoma!, Follies, Chicago, and countless others. While theatrical historians traditionally have emphasized the role of the authors of musicals, Mordden also examines the personal styles of the directors, choreographers, and producers, in order to demonstrate not only what the musical became but what it was. The volume includes an extensive discography--the first of its kind--which offers a virtually self-contained history of recorded show music.
Ethan Mordden's new entry in his history of the Broadway musical looks at an era that brought us not only the gritty reality of "A Chorus Line" and the brilliantly bittersweet works of Stephen Sondheim, but also the nostalgic crowd-pleasers "No, No, Nanette" and "Annie." It was a time when Broadway both looked to its past, but also to its future and allowed reality to enter. Mordden writes of the last time we ever saw true greatness on the stage of the Broadway musical. "[A] treasure trove for fans of the musical theatre." - Richard Ouzonian, Toronto Star
A fascinating look at the gay and lesbian influence on the American stage by an internationally-recognized authority on the topic From the genteel female impersonators of the 1910s to the raucous drag queens of La Cage Aux Folles, from the men of The Normal Heart to the women of Fun Home, and from Eva Le Gallienne and Tallulah Bankhead to Tennessee Williams and Nathan Lane, Gays On Broadway deftly chronicles the plays and people that brought gay culture to Broadway. Writing with his customary verve and wit, author Ethan Mordden follows the steady liberation of gay themes on the American stage. The story begins in the early twentieth century, when gay characters were virtually banned from productions. The 1920s saw a flurry of plays closed on moral grounds as well as the Wales Padlock Act, which forbade representation of "sex degeneracy". While authorities made consistent attempts to shutter the movement, the public remained curious, and after a few decades of war making, a truce broke out when The Boys In the Band became a national smash hit. From this point on, gay theatre proved simply too popular to abolish. With this change, theatre was graced with a host of unforgettable characters - from thrill killers to historical figures to drag performers, as well as professional gays (such as the defiantly effeminate window dresser in Kiss of the Spider Woman), closeted gays, and those run-of-the-mill citizens who don't reside entirely within the colorful nonconformist identity (such as the two male lovers in the dinner-theatre comedy Norman, Is That You?). Spoken plays and musicals, playwrights, directors, and actors all played their part in popularizing the gay movement through art. Gays on Broadway is an essential chronological review of the long journey to bring the culture of gay men and women onto the American stage.
In the 1960s, the Broadway musical was revolutionized from an entertainment characterized by sentimental standards, such as Camelot and Hello, Dolly!, to one of brilliant and bittersweet masterpieces, such as Cabaret and Fiddler on the Roof. In Open a New Window, Ethan Mordden continues his history of the Broadway musical with the decade that bridged the gap between the romantic, fanciful entertainments of the fifties, such as Call Me, Madam, to the seventies when sophisticated fare, such as A Little Night Music and Follies, was commonplace. Here in brilliant detail is the decade and the people that forever transformed the Broadway muscial.
In the 1930s, Broadway's lights still burned brightly. Ethan Mordden completes his history of the Broadway musical by taking a look at this forgotten era. Shows like Anything Goes brought the glitter of Cole Porter and Merman's brass to the public. Innovations in dance were pioneered by Balanchine and others. Scenic advancements made Astaire's The Band Wagon move across the stage in novel ways. Gershwin's revolutionary Porgy and Bess entered the canon of American Classics. And The Cradle Will Rock and Johnny Johnson took the American political temperature. With his trademark wit and style, Ethan Mordden shines the spotlight on Broadway's forgotten decade.
From Gilbert and Sullivan to Andrew Lloyd Webber, from Julie Andrews to Hugh Jackman, from Half a Sixpence to Matilda, Pick a Pocket Or Two is the story of the British musical: where it began and how it developed. In Pick a Pocket Or Two, acclaimed author Ethan Mordden brings his wit and wisdom to bear in telling the full history of the British musical, from The Beggar's Opera (1728) to the present, with an interest in isolating the unique qualities of the form and its influence on the American model. To place a very broad generalization, the American musical is regarded as largely about ambition fulfilled, whereas the British musical is about social order. Oklahoma!'s Curly wins the heart of the farmer Laurey--or, in other words, the cowboy becomes a landowner, establishing a truce between the freelancers on horseback and the ruling class. Half a Sixpence, on the other hand, finds a working-class boy coming into a fortune and losing it to fancy Dans, whereupon he is reunited with his working-class sweetheart, his modest place in the social order affirmed. Anecdotal and evincing a strong point of view, the book covers not only the shows and their authors but the personalities as well--W. S. Gilbert trying out his stagings on a toy theatre, Ivor Novello going to jail for abusing wartime gas rationing during World War II, fabled producer C. B. Cochran coming to a most shocking demise for a man whose very name meant "classy, carefree entertainment." Unabashedly opinionated and an excellent stylist, author Ethan Mordden provokes as much as he pleases. Mordden is the preeminent historian of the form, and his book will be required reading for readers of all walks, from the most casual of musical theater goers to musical theater buffs to students and scholars of the form.
In The Instrumental University, Ethan Schrum provides an illuminating genealogy of the educational environment in which administrators, professors, and students live and work today. After World War II, research universities in the United States underwent a profound mission change. The Instrumental University combines intellectual, institutional, and political history to reinterpret postwar American life through the changes in higher education. Acknowledging but rejecting the prevailing conception of the Cold War university largely dedicated to supporting national security, Schrum provides a more complete and contextualized account of the American research university between 1945 and 1970. Uncovering a pervasive instrumental understanding of higher education during that era, The Instrumental University shows that universities framed their mission around solving social problems and promoting economic development as central institutions in what would soon be called the knowledge economy. In so doing, these institutions took on more capitalistic and managerial tendencies and, as a result, marginalized founding ideals, such as pursuit of knowledge in academic disciplines and freedom of individual investigators. The technocratic turn eroded some practices that made the American university special. Yet, as Schrum suggests, the instrumental university was not yet the neoliberal university of the 1970s and onwards in which market considerations trumped all others. University of California president Clark Kerr and other innovators in higher education were driven by a progressive impulse that drew on an earlier tradition grounded in a concern for the common good and social welfare.
In a city shrouded in fear, the eerie disappearance of four women soon escalates to a grim reality when they are found lifeless. The lead detective, though relentless, is pulled off the case due to a lack of leads. He leaves with a chilling warning – the killer will strike again. And strike again, he did, not once but twice. Fast forward eighteen years, the unsolved case is a haunting blemish on the police department, forcing them to summon the once ostracized detective, Nathan Andrews, back to the chilling scene of the unsolved crimes. With no other recourse, the desperate police force pairs the seasoned Nathan with young officer Julius in a bid to catch the elusive killer. As Julius is taken under Nathan’s tutelage, he quickly descends into a world far darker than he could have imagined: a world where fear reigns, and even crime lords shudder. Nathan, a man whose secrets are as fearsome as his reputation, walks the sinister path fearlessly, unmasking a reality that’s terrifyingly close to the heart of darkness. Now, as they venture deeper into the case, Julius realizes that the true terror may not just be the serial killer who set the night alight with dread but the enigmatic Nathan, whose cryptic past holds keys to a realm even the bravest dare not enter.
As banks crashed, belts tightened, and cupboards emptied across the country, American prisons grew fat. Doing Time in the Depression tells the story of the 1930s as seen from the cell blocks and cotton fields of Texas and California prisons, state institutions that held growing numbers of working people from around the country and the world—overwhelmingly poor, disproportionately non-white, and displaced by economic crisis. Ethan Blue paints a vivid portrait of everyday life inside Texas and California’s penal systems. Each element of prison life—from numbing boredom to hard labor, from meager pleasure in popular culture to crushing pain from illness or violence—demonstrated a contest between keepers and the kept. From the moment they arrived to the day they would leave, inmates struggled over the meanings of race and manhood, power and poverty, and of the state itself. In this richly layered account, Blue compellingly argues that punishment in California and Texas played a critical role in producing a distinctive set of class, race, and gender identities in the 1930s, some of which reinforced the social hierarchies and ideologies of New Deal America, and others of which undercut and troubled the established social order. He reveals the underside of the modern state in two very different prison systems, and the making of grim institutions whose power would only grow across the century.
Drawing on fresh archeological evidence, recent research on topics ranging from survival rates to snowfall totals, and heartbreaking letters and diaries made public by descendants a century-and-a-half after the tragedy, Ethan Rarick offers an intimate portrait of the Donner party--ninety pioneers who became stranded in the Sierra Nevada mountains in the winter of 1846-47-- and their unimaginable ordeal.
For Ethan Mordden, the closing night of the hit musical, 42nd St. sounded the death knell of the art form of the Broadway musical. After that, big orchestras, real voices, recognizable books and intelligent lyrics went out the window in favor of cats, helicopters, yodeling Frenchmen, and the roof of the Paris Opera. Mordden takes us through the aftermath of the days of the great Broadway musical. From the long-running Cats to Miss Saigon, Phantom, and Les Miserables, to gems like The Producers, he is unsparing in his look at the remains of the day. Not content to scold the shows' creators, Mordden takes on the critics, too, splaying their bodies across the Great White Way like Sweeney Todd giving a close shave. Once more, it's "curtain going up," but Mordden is not applauding.
Giving each of Stephen Sondheim's musicals its own chapter, Ethan Mordden applies fresh insights and analysis to consider Sondheim's place in modern art, addressing the newcomer and the aficionado alike.
Ben Bernanke's swearing in as Federal Reserve chairman in 2006 marked the end of Alan Greenspan's long, legendary career. To date, the new chair has garnered mixed reviews. Business economists see him as the best-qualified successor to Greenspan, while many traders and investors worry that he's too academic for the job. Meanwhile, many ordinary Americans do not even know who he is. How will Bernanke's leadership affect the Fed's actions in the coming years? How will Bernanke build on Greenspan's success, but also put his own stamp on the Fed? What will all this imply for businesses and investors? In Ben Bernanke's Fed, Ethan Harris provides exceptional insights into these crucial issues. As a leading "Fed watch" economist, Harris draws on Bernanke's academic research, his speeches as a governor of the Fed, and his first two years on the job to shed light on: · How the Federal Reserve analyzes and manages the economy using a synthesis of classical and Keynesian theory · Bernanke's strategies for fighting inflation · The implications of the new chair's remarkably plain-spoken style · How Bernanke has cultivated diverse viewpoints but still builds consensus within the Fed Engaging and discerning, this book demystifies the man who has stepped into what many describe as the second most powerful job in America.
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