Jukebox musicals began in the cinema and later moved to the theatre. They had begun to make theater more popular with audiences, who had begun to gravitate towards cinema and music. By combining the two, they get the same result and a whole new audience. I will discuss how this happened by talking about the change that occurred. But what exactly is a jukebox musical? Well, the Merriam-Webster dictionary defines a musical as “(n) a film or stage production typically sentimental or humorous in nature that consists of musical numbers and dialogue based on a unifying plot.” This dictionary defines a jukebox musical as “(n)a musical that features popular songs from the past.” Classic musicals include “The Lion King,” “Aida” and “Hairspray.” The jukebox musical subgenre comes into play when music begins to come specifically from an artist or time period that was popular. Examples of this include "Mama Mia", "American Idiot" and "Rock of Ages". Jukebox musicals tend to have a negative reception from scholars and critics in the musical theater world. They tend not to see it in the same artistic glory as classic musicals, but more as propaganda for the artist or the moment the musical speaks to. The general misconception about these musicals is that the music will not be able to form a narrative. I believe this is false and that a story can be born from music as effectively as music can be born from a story. Don't most songs tell a story? I believe jukebox musicals can be just as good if not better if the audience is familiar with the music beforehand. If these are popular songs, audience members have most likely put their own experiences into the context of the song before seeing the show. So when these songs appear in the music... in the middle of the paper...." Poster May 7, 2008. Pressley, Nelson. "Signature's 'Glory Days' Ends One-Day Broadway Run." The Washington Post May 8, 2008. Scholem, Richard. "Our Man on Broadway." Long Island Business News May 4, 1998: 181.Sotirios Bakagiannis, Mark Tarrant "Can Music Bring People Together? Effects of shared musical preference on intergroup prejudice in adolescence." Scandinavian Journal of Psychology (2006): 129-136. The Broadway League. n.d. July 30, 2011. Ullom, Jeffrey. "There is an "I" in the artist." : dysfunctional collaborations and the failed "Pop Musicals" Come (1994) and The Capeman (1998)." Studies in Musical Theater 4.2 (2010): 211-225.Webster, Andy "Never Mind the Mullet; It's the Tunes." The New York Times October 27, 2008: 2.William A. Evrett, Paul R. Laird. The Cambridge Companion to the Musical. Cambridge University Press, 2008.