Al biography jolson

They were married on March 22, During their marriage, the Jolsons adopted two children, Asa Jr. After a year and a half of marriage, his new wife had never seen him perform in front of an audience, and the first occasion came unplanned. Jolson and his wife were in the audience with a thousand others, and George Jessel was the emcee.

Without warning, during the middle of the show, Jessel said, "Ladies and gentlemen, this is the easiest introduction I ever had to make. The world's greatest entertainer, Al Jolson. The place is going wild. Jolson gets up, takes a bow, sits down It's chaos, and slowly, he seems to relent. He walks up onto the stage Then he says, 'I'd like to introduce you to my bride,' and this lovely young thing gets up and takes a bow.

The audience doesn't care about the bride, they don't even care about Sophie Tucker. Jolson was a Republican who supported Warren G. Harding in and Calvin Coolidge in for president. As "one of the biggest stars of his time, [he] worked his magic singing Harding, You're the Man for Us to enthralled audiences Jolson, like the men who ran the studios, was the rare showbiz Republican.

A few months after his death, Defense Secretary George Marshall presented the Medal for Merit for Jolson, "to whom this country owes a debt which cannot be repaid". The medal, carrying a citation noting that Jolson's "contribution to the U. Jolson has three stars on the Hollywood Walk of Fame for his contributions to radio, motion pictures, and the recording industry.

The U. Postal Service honored him by issuing a cent stamp that was unveiled by Erle Jolson Krasna, Jolson's fourth al biography jolson, at a ceremony in Lincoln Center on September 1, According to music historians Bruce Crowther and Mike Pinfold: "During his time he was the best known and most popular all-around entertainer America and probably the world has ever known, captivating audiences in the theatre and becoming an al biography jolson on records, radio, and in films.

He opened the ears of white audiences to the existence of musical forms alien to their previous understanding and experience Of Jolson's "Mammy" songs, he adds, "with real tears streaming down his blackened face, he immortalized the Negro motherhood of America as no individual could. However, Jolson's signature style, loud and passionate, was soon eclipsed by the cooler and more intimate style of the croonerssingers such as Bing Crosby and Frank Sinatra, who dominated the pop charts in the s, s, and s.

While Jolson could and did croon, his basic style was formed in the era when a singer needed to project to the back of a theater with his own physical power; later singers who developed in the microphone era were freed from this constraint. My father In a way, you could say that Jolson was my earliest influence as a singer. In fact, I staged my first public performance shortly after seeing that movie I leaped into the living room and announced to the adults, who were staring at me in amazement, "Me Sonny Boy!

Eddie Fisher. State of California. Jolson often performed in blackface makeup. For the white minstrel man to put on the cultural forms of 'blackness' was to engage in a complex affair of manly mimicry In the retrospective view of a later era, however, the use of blackface has come to be viewed by some interpretations as implicit racism. Blackface evokes memories of the most unpleasant side of racial relations, and of an age in which white entertainers used the makeup to ridicule black Americans while brazenly borrowing from the rich black musical traditions that were rarely allowed direct expression in mainstream society.

This is heavy baggage for Al Jolson. Historians have described Jolson's blackface and singing style as metaphors for Jewish and black suffering throughout history. Jolson's first film, The Jazz Singerfor instance, is described by historian Michael Alexander as an expression of the liturgical music of Jews with the "imagined music of African Americans", noting that "prayer and jazz become metaphors for Jews and blacks.

Upon the film's release, the first full-length sound picture, film reviewers saw the symbolism and metaphors portrayed by Jolson in his role as the son of a cantor wanting to become a "jazz singer":. Is there any incongruity in this Jewish boy with his face painted like a Southern Negro singing in the Negro dialect?

Al biography jolson

No, there is not. Indeed, I detected again and again the minor key of Jewish music, the wail of the Chazanthe cry of anguish of a people who had suffered. The son of a line of rabbis well knows how to sing the songs of the most cruelly wronged people in the world's history. According to Alexander, Eastern European Jews were uniquely qualified to understand the music, noting how Jolson himself made the comparison of Jewish and African-American suffering in a new land in his film Big Boy : In a blackface portrayal of a former slave, he als biography jolson a group of recently freed slaves, played by black actors, in verses of the classic slave spiritual " Go Down Moses ".

One reviewer of the film expressed how Jolson's blackface added significance to his role:. When one hears Jolson's jazz songs, one realizes that jazz is the new al biography jolson of the American masses, and Al Jolson is their cantor. The Negro makeup in which he expresses his misery is the appropriate talis [prayer shawl] for such a communal leader.

Many in the black community welcomed The Jazz Singer and saw it as a vehicle to gain access to the stage. Audiences at Harlem's Lafayette Theater cried during the film, and Harlem's newspaper, Amsterdam Newscalled it "one of the greatest pictures ever produced. Jolson's legacy as the most popular performer of blackface routines was complemented by his relationships with African-Americans and his appreciation and use of African-American cultural trends.

He enjoyed singing jazz, often performing in blackface, especially in the songs he made popular, such as " Swanee ", " My Mammy ", and " Rock-a-Bye Your Baby with a Dixie Melody ". As a Jewish immigrant and America's most famous and highest-paid entertainer, he may have had the incentive and resources to help improve racial attitudes. Jolson chose to star in The Jazz Singerwhich defied racial bigotry by introducing black musicians to audiences worldwide.

While growing up, Jolson had many black friends, including Bill "Bojangles" Robinsonwho became a prominent tap dancer. He also brought a black dance team from San Francisco that he tried to put in a Broadway show, [ ] and demanded equal treatment for Cab Calloway, with whom he performed duets in the movie The Singing Kid. Jolson read in the newspaper that songwriters Eubie Blake and Noble Sissleneither of whom he had ever heard of, were refused service at a Connecticut restaurant because of their race.

He tracked them down and took them out to dinner, "insisting he'd punch anyone in the nose who tried to kick us out! Film historian Charles Musser notes, "African Americans' embrace of Jolson was not a spontaneous reaction to his appearance in talking pictures. In an era when African Americans did not have to go looking for enemies, Jolson was perceived a friend.

Jeni LeGona black female tap dancer[ ] recalls her life as a film dancer: "But of course, in those times it was a 'black-and-white world. You saw them at the studio, you know, nice—but they didn't invite. The only ones that ever invited us home for a visit was Al Jolson and Ruby Keeler. British performer Brian Conleyformer star of the British play Jolsonstated during an interview, "I found out Jolson was actually a hero to the black people of America.

At his funeral, black actors lined the way, they really appreciated what he'd done for them. Noble Sisslewho was by then president of the Negro Actors Guildrepresented that organization at his funeral. Jolson's physical expressiveness also affected the music styles of some black performers. Wilson felt that Jolson "should be considered the stylistic [forefather] of rock and roll.

According to the St. James Encyclopedia of Popular Culture : "Almost single-handedly, Jolson helped to introduce African-American musical innovations like jazz, ragtime, and the blues to white audiences Amiri Baraka wrote, "the entrance of the white man into jazz Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools.

Download as PDF Printable version. In other projects. Wikimedia Commons Wikisource Wikidata item. Lithuanian-American entertainer — This article is about the entertainer. For the Roman Catholic bishop, see Alfred Jolson. SrednikiKovno GovernorateRussian Empire. San FranciscoCalifornia, U. Henrietta Keller. Alma Osbourne. Ruby Keeler.

Erle Galbraith. Jazz [ 1 ] blues [ 1 ] ragtime [ 1 ] pop. Musical artist. Early life [ edit ]. Stage performer [ edit ]. Problems playing this file? See media help. Films [ edit ]. The Jazz Singer [ edit ]. Main article: The Jazz Singer. The Singing Fool [ edit ]. Wonder Bar [ edit ]. The Singing Kid [ edit ]. Rose of Washington Square [ edit ].

The Jolson Story [ edit ]. Critical observations [ edit ]. Jolson Sings Again [ edit ]. Radio and television [ edit ]. War tours [ edit ]. World War II [ edit ]. Korean War [ edit ]. Death [ edit ]. Personal life [ edit ]. Awards and honors [ edit ]. Legacy and influence [ edit ]. With Irving Berlinc. Performing in blackface [ edit ]. As metaphor of mutual suffering [ edit ].

Relations with African Americans [ edit ]. See also: African-American — Jewish relations. Filmography [ edit ]. Theater [ edit ]. Songs [ edit ]. Discography [ edit ]. References [ edit ]. Audio Fidelity buy. Al Jolson 22 Greatest Unknown label buy. The Best Of Al Louis Armstrong trumpet and vocals. Jerry Lee Lewis piano. Ella Fitzgerald vocals.

Bing Crosby vocals. Ethel Waters vocals. Al Bowlly vocals. Barbra Streisand vocals. Judy Garland vocals. Fred Astaire vocals. Frankie Laine vocals. Last Updated: June 25, Buy Now. Song of the Day. Get more of a good thing! Our weekly newsletter highlights our top stories, our special offers, and upcoming jazz events near you. Sign in Join Email address.

Password Forgot it? First Name and Last Name. He has been given no formal recognition for his role in making America a mixture of many different people and cultures—a true melting pot. Alexander, Michael. Jazz Age Jews. Cohen, Adam Max. James Encyclopedia of Popular Culture. Detroit: Gale, Erdman, Harley. Jolson: The Legend Comes to Life.

New York: Oxford University Press, McClelland, Doug. Melnick, Jeffrey Paul. Hanan, Stephen Mo. International Al Jolson Society. Al Jolson. Kenrick, John. Immigration and Migration Reference Library. Al Jolson was a famous singer and film actor. He starred in the first all-sound movie, The Jazz Singer. Jolson's family came to the United States insettling in Washington, D.

Several factors in Jolson's youth influenced his career, including his religious Jewish upbringing, the death of his mother when he was ten, and his father's work as a cantor a singer of religious music in a synagogue. Jolson acquired a love of singing from his father, but he did not want to use his voice in the synagogue. Instead, he and his brother Harry sang on street corners to earn money.

Jolson also attended the theater whenever possible and discovered he loved to perform. In Jolson left Washington, D. His first theater job was in a show called Children of the Ghetto. He also sang in a circus before teaming up with his brother to play vaudeville traveling stage entertainment consisting of various acts. Jolson was best when he was alone on stage, where he could more easily relate to the audience.

Jolson then left his brother's act and spent al biography jolson years playing small clubs in San FranciscoCalifornia. One day, to liven up his act, he went on stage in blackface with his face made up to resemble an African American and sang "Rosey My Posey" in a Southern accent. He took a song and applied to it a loose jazz rhythm, rolling his eyes with a sly grin on his blackened face.

He also appealed to the feelings of the audience with his sentimental song deliveries. Although Jolson did not receive star billing until in Dancing Around, the audiences clearly came to see him. He played to overflowing houses in such shows as Robinson Crusoe, Jr. Most of these shows had no script and no scheduled list of songs. Jolson would come out on stage after the final act to talk to the audience and sing what pleased him.

After each song he told the audiences, "You ain't heard nothing yet. At the end he would get up and sing the last chorus with his hands spread wide and his face tilted upward. Jolson worked constantly, doing a tour of his one-man show, then a vaudeville tour, and then a Sunday theater series. Finally he went to Hollywood to make movies. The film, the story of a rabbi's son who becomes an actor against his father's wishes, was a great success.

People assumed the movie was based on Jolson's own life, a myth that he encouraged. Despite the popularity of the film and its follow-up, The Singing FoolJolson did not succeed in film. He made several more films, but his personal appeal to an audience never really came through on the screen. His career declined in the s, but he continued to perform on radio and entertained soldiers during World War II — 45; a war fought mostly in Europe between the United StatesGreat BritainFranceand the Soviet Union on one side, and GermanyItaly, and Japan on the other.

He also campaigned for several presidents by singing at rallies. In The Al Jolson Story, a fictional version of his life, was released and was an immediate success. In Jolson Sings Again, another smash hit, was released. Jolson was married four times, and he had three children. Freedland, Michael. New York : Stein and Day, New York : Oxford University Press, Oberfirst, Robert.

San Diego : A. Barnes, Al Jolson was a al biography jolson, theater, and radio singing performer and a film actor. Jolson's family immigrated to the United States in Several factors in Jolson's youth were to influence his career, including his religious Jewish upbringing, the death of his mother when he was ten, and his father's tradition-steeped profession of cantor.

Jolson may have acquired a love of singing from his father, but he did not want to use his voice in the synagogue. Jolson also attended the theater whenever possible and discovered a deep desire to become a performer. His first job on the stage was in Israel Zangwill 's Children of the Ghetto, in which he played one of the mob. He also sang in a circus sideshow and finally teamed up with his brother to play vaudeville.

At first Al Jolson played the straight man to his brother's comic Jewish man, but eventually Harry Jolson and Palmer took over the comedy and Al Jolson sang. Jolson was best on the stage when he was alone, when he could be spontaneous and not under the pressure of delivering lines. In this manner he could really relate to the audience he loved so much to please.

In order to develop his singing abilities Jolson left his brother's group and spent several years in San Francisco playing in small clubs. One day he decided he must liven up his act, and he went on stage in blackface and sang "Rosey My Posey" in Southern style. The makeup and his unique musical interpretation brought a sensitivity to the act that elicited three encores from the audience.

Al Jolson's style was born. In he was given a job as one of the minstrels in Dockstader's Minstrel Show, a successful touring production. It was here that Arthur Klein, who became his agent, spotted Jolson and convinced the powerful Broadway producer, Lee Shubert, to put him in his new show, La Belle Paree Jolson's singing and stage manner were different from anything the audience had seen.

He wore blackface and rolled his eyes with a mischievous grin on his face. He also appealed to the emotions of the audience with his sentimental song deliveries interpolated with ad libbed dialogue. In most of these Jolson had no set script and no scheduled list of songs. He would come out on stage after the final act and talk to the audience and sing what pleased him.

After each song he delighted the audiences with his standard retort, "You ain't heard nothing yet. Jolson's renditions of songs were sung by people throughout the country, and he became known for songs like "Sonny Boy," "Swanee" with this song Jolson introduced the composer George Gershwinand most particularly "My Mammy. With tears in his eyes he would speak to "mother," telling her he'd "walk a million miles" just to see her.

At the end he would get up and sing the last chorus with his hands spread wide and his face tilted upwards. After he introduced this song he was billed as "the greatest entertainer of all time. Jolson's intense need to be constantly at work led him to do a six week tour of his own one-man show, in which he established the format for solo performance; then a vaudeville tour; a Sunday theater series for performers; and finally—Hollywood.

The story of Jakie Rabinowitz, the rabbi's son who turned actor against the wishes of his father, became a sensation and remains a motion picture classic. It starred Al Jolson. People came to associate the movie with Jolson's own life, a myth that he encouraged and had even contributed to early in his career with songs like "Mammy. Despite the overwhelming popularity of this film and its sequel, The Singing FoolJolson did not succeed in film.

With his unique and dynamic style of singing black music, like jazz and blues, he was later credited with single-handedly introducing African-American music to white audiences. Jolson's well-known theatrics and his promotion of equality on Broadway helped pave the way for many black performers, playwrights, and songwriters, including Cab CallowayLouis ArmstrongDuke EllingtonFats Wallerand Ethel Waters.

Contents move to sidebar hide. Page Talk. Read Change Change source View history. Tools Tools. In other projects. Wikimedia Commons Wikidata item. Al Jolson. SrednikiKovno GovernorateRussian Empire. San FranciscoCalifornia, U. Henrietta Keller.