name | Al Jolson |
---|---|
background | solo_singer |
birth name | Asa Yoelson |
born | May 26, 1886Seredzius, Lithuania |
died | October 23, 1950San Francisco, California, U.S. |
genre | VaudevillePop standardsJazzPop |
occupation | ActorComedianSinger |
years active | 1911–1950 |
spouse | Henrietta Keller (1907-1919)Alma Osbourne (1922-1928)Ruby Keeler (1928-1939)Erle Galbraith (1945-1950) his death |
label | Victor, Columbia, Little Wonder, Brunswick, Decca |website The Al Jolson Society }} |
Al Jolson (May 26, 1886 – October 23, 1950) was an American singer, comedian and actor. In his heyday, he was dubbed "The World's Greatest Entertainer". He was born in the Russian Empire (the part which is now in Lithuania) and emigrated to America at the age of five with his Jewish parents.
His performing style was brash and extroverted, and he popularized a large number of songs that benefited from his "shamelessly sentimental, melodramatic approach". Numerous well-known singers were influenced by his music, including Bing Crosby Judy Garland, rock and country entertainer Jerry Lee Lewis, and Bob Dylan, who once referred to him as "somebody whose life I can feel". Broadway critic Gilbert Seldes compared him to "the Great God Pan," claiming that Jolson represented "the concentration of our national health and gaiety."
In the 1930s, he was America's most famous and highest paid entertainer. Between 1911 and 1928, Jolson had nine sell-out Winter Garden shows in a row, more than 80 hit records, and 16 national and international tours. Although he's best remembered today as the star in the first (full length) talking movie, The Jazz Singer in 1927, he later starred in a series of successful musical films throughout the 1930s. After a period of inactivity, his stardom returned with the 1946 Oscar-winning biographical film, The Jolson Story. Larry Parks played Jolson with the songs dubbed in with Jolson’s real voice. A sequel, Jolson Sings Again, was released in 1949, and was nominated for three Oscars. After the attack on Pearl Harbor, Jolson became the first star to entertain troops overseas during World War II, and again in 1950 became the first star to perform for G.I.s in Korea, doing 42 shows in 16 days. He died just weeks after returning to the U.S., partly due to the physical exertion of performing. Defense Secretary George Marshall afterward awarded the Medal of Merit to Jolson's family.
According to the St. James Encyclopedia of Popular Culture, "Jolson was to jazz, blues, and ragtime what Elvis Presley was to rock 'n' roll". Being the first popular singer to make a spectacular "event" out of singing a song, he became a “rock star” before the dawn of rock music. His specialty was building stage runways extending out into the audience. He would run up and down the runway and across the stage, "teasing, cajoling, and thrilling the audience", often stopping to sing to individual members, all the while the "perspiration would be pouring from his face, and the entire audience would get caught up in the ecstasy of his performance". According to music historian Larry Stempel, "No one had heard anything quite like it before on Broadway." Author Stephen Banfield agrees, writing that Jolson's style was "arguably the single most important factor in defining the modern musical . . ."
He enjoyed performing in blackface makeup – a theatrical convention since the mid-19th century. 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. As early as 1911 he became known for fighting against anti-black discrimination on Broadway. 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 Calloway, Louis Armstrong, Duke Ellington, Fats Waller, and Ethel Waters.
Hard times hit the family when his mother, Naomi, died in late 1894. Following his mother's death, young Asa was in a state of withdrawal for seven months. Upon being introduced to show business in 1895 by entertainer Al Reeves, Asa and Hirsch became fascinated by the industry, and by 1897, the brothers were singing for coins on local street corners, using the names "Al" and "Harry". They would usually use the money to buy tickets to shows at the National Theater. Asa and Hirsch spent most of their days working different jobs as a team.
By the end of the year, however, the circus had folded, and Jolson was again out of work. In May 1903, the head producer of the burlesque show, Dainty Duchess Burlesquers, agreed to give Jolson a part in one show. Asa gave a remarkable performance of "Be My Baby Bumble Bee", and the producer agreed to keep him for future shows. Unfortunately, the show closed by the end of the year. Asa was able to avoid financial troubles by forming a vaudeville partnership with his brother Hirsch, now a vaudeville performer who was known as Harry Yoelson. The brothers worked for the William Morris Agency.
Asa and Harry also eventually were teamed with Joe Palmer. During their time with Palmer, they were able to get bookings in a nationwide tour. However, live performances were fading in popularity, as nickelodeon theaters captured audiences; by 1908, nickelodeon theaters were completely dominant throughout New York City as well. While performing in a Brooklyn theater in 1904, Al decided on a new approach and began wearing blackface makeup. The conversion to blackface boosted his career and he began wearing blackface in all of his shows.
In the fall of 1905, Harry left the trio, following a harsh argument with Al. Harry had refused Al's request to take care of Joe Palmer — who was in a wheelchair — while he went out on a date. After Harry's departure, Al and Joe Palmer worked as a duo, but were not very successful together. By 1906, the two agreed to separate, and Jolson was on his own.
Al became a regular at the Globe and Wigwam Theater in San Francisco, California, and remained successful nationwide as a vaudeville singer He took up residence in San Francisco, saying the earthquake-devastated area needed someone to cheer them up. In 1908, Jolson — needing money for himself and his new wife Henrietta — returned to New York. In 1909, Al's singing caught the attention of Lew Dockstader, who was the producer and star of Dockstader's Minstrels. Al accepted Dockstader's offer, and became a regular blackface performer.
On March 20, 1911, Jolson starred in his first musical revue at the Winter Garden Theater in New York City, La Belle Paree, which also greatly helped launch his career as a singer. The opening night drew a huge crowd to the theater, and that evening Jolson gained audience popularity by singing old Stephen Foster songs in blackface. In the wake of that phenomenal opening night, Jolson was given a position in the show's cast. The show closed after 104 performances, and during its run Jolson's popularity grew greatly. Following La Belle Paree, Jolson accepted an offer to perform in the musical Vera Violetta. The show opened on November 20, 1911, and, like La Belle Paree, was a phenomenal success. In the show, Jolson again portrayed the role of a blackface singer, and managed to become so popular, that his weekly salary- which he earned from his success in La Belle Paree- of $500 was increased to $750.
After Vera Violetta ran its course, Jolson starred in another musical, The Whirl of Society, propelling his career on Broadway to new heights. During his time at the Winter Garden, Jolson would tell the audience "you ain't heard nothing yet" before performing additional songs. In the play, Jolson debuted his signature blackface character, "Gus." The play was so successful, that Winter Garden owner Lee Shubert agreed to sign Jolson to a seven year contract with a salary of $1,000 a week. Jolson would reprise his role as "Gus" in future plays and by 1914, Jolson achieved so much popularity with the theater audience that his $1,000 a week salary was doubled to $2,000 a week. In 1916, Robinson Crusoe, Jr. was the first musical where he was featured as the star character. In 1918, Jolson's acting career would be pushed even further, after he starred in the hit musical Sinbad.
{| style="float:right;" |- | |- | |} It became the most successful Broadway musical of 1918 and 1919. A new song was later added to the show that would become composer George Gershwin's first hit recording, "Swanee". Jolson also added another song to the show, "My Mammy". By 1920, Jolson had become the biggest star on Broadway.
But on the opening night of Bombo, and the first performance at the new theatre, he suffered from extreme stage fright, walking up and down the streets for hours before showtime. Out of fear, he lost his voice backstage and begged the stagehands not to raise the curtains. But when the curtains went up, he "was [still] standing in the wings trembling and sweating". After being physically shoved onto the stage by his brother Harry, he performed and received an ovation that he would never forget: "For several minutes, the applause continued while Al stood and bowed after the first act". He refused to go back on stage for the second act, but the audience "just stamped its feet and chanted 'Jolson, Jolson', until he came back out." He took thirty-seven curtain calls that night, and told the audience "I'm a happy man tonight."
In March, 1922, he moved the production to the larger Century Theater for a special benefit performance to aid injured Jewish veterans of World War I. After taking the show on the road for a season, he returned in May, 1923, to perform Bombo at "his first love", the Winter Garden. The reviewer for the New York Times wrote, "He returned like the circus, bigger and brighter and newer than ever. ... Last night's audience was flatteringly unwilling to go home, and when the show proper was over, Jolson reappeared before the curtain and sang more songs, old and new."
"I don’t mind going on record as saying that he is one of the few instinctively funny men on our stage", wrote reviewer Charles Darnton in the New York Evening World. "Everything he touches turns to fun. To watch him is to marvel at his humorous vitality. He is the old-time minstrel man turned to modern account. With a song, a word, or even a suggestion he calls forth spontaneous laughter. And here you have the definition of a born comedian."
Upon release of the film, 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? No, there is not. Indeed, I detected again and again the minor key of Jewish music, the wail of the Chazan, the 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, East 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 leads 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 prayer 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 News, called it "one of the greatest pictures ever produced." For Jolson, it wrote: "Every colored performer is proud of him."
As a Jewish immigrant and America's most famous and highest paid entertainer, he may have had the incentive and resources to help break down racial attitudes. For instance, the Ku Klux Klan (KKK) during its peak in the early 1920s, included about 15% of the nation's eligible voting population, 4-5 million men. While D.W. Griffith created the blockbuster movie The Birth of a Nation, which glorified white supremacy and the KKK, Jolson chose to star in The Jazz Singer, which defied racial bigotry by introducing American black music to white audiences worldwide.
While growing up, he had many black friends, including Bill 'Bojangles' Robinson, who later became a legendary tap dancer." As early as 1911, at the age of 25, he was already noted for fighting discrimination on the Broadway stage and later in his movies: "at a time when black people were banned from starring on the Broadway stage," he promoted the play by black playwright Garland Anderson, which became the first production with an all-black cast ever produced on Broadway; he brought an all-black dance team from San Francisco that he tried to feature in his Broadway show;
Jeni LeGon, a black female tap dance star, recalls her life as a film dancer: "But of course, in those times it was a 'black-and-white world.' You didn't associate too much socially with any of the stars. 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." Brian Conley, former star of the 1995 British play Jolson, stated 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 Sissle, then president of the Negro Actors' Guild, represented that organization at his funeral.
Jolson's physical expressiveness also affected the music styles of some black performers. Music historian Bob Gulla writes that "the most critical influence in Jackie Wilson's young life was Al Jolson." He points out that Wilson's ideas of what a stage performer could do to keep their act an "exciting" and "thrilling performance" was shaped by Jolson's acts, "full of wild writhing and excessive theatrics." Wilson felt that Jolson, along with Louis Jordan, another of his idols, "should be considered the stylistic forefathers 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.... [and] paved the way for African-American performers like Louis Armstrong, Duke Ellington, Fats Waller, and Ethel Waters.... to bridge the cultural gap between black and white America." Jazz historian Amiri Baraka wrote, "the entrance of the white man into jazz...did at least bring him much closer to the Negro." He points out that "the acceptance of jazz by whites marks a crucial moment when an aspect of black culture had become an essential part of American culture."
In a recent interview, Clarence 'Frogman' Henry, one of the most popular and respected jazz singers of New Orleans, said, "Jolson? I loved him. I think he did wonders for the blacks and glorified entertainment."
Jolson had actually starred in a talking film before The Jazz Singer: a 1926 short subject titled A Plantation Act. This simulation of a stage performance by Jolson was originally presented in a program of musical shorts, demonstrating the Vitaphone sound-film process. A Plantation Act was not preserved for posterity and was considered lost as early as 1933; see the Wikipedia entry for A Plantation Act for details about the film's restoration.
Music historian John Shepherd, discussing The Jazz Singer, notes that the title "reflected the contemporary popularity of the idea of jazz, but not its actuality. . . . and had no direct connection with the kind of performance that could then be found in clubs, dance halls and theaters."
Warner Bros. had originally picked George Jessel for the role, as he had starred in the Broadway play. However, Jessel refused the offer and Jack L. Warner then offered the role to Jolson, who, according to Jessel, also helped finance the film.
;Story synopsis A New York Times review of the movie in 1927 described the basic storyline: "There is naturally a good deal of sentiment attached to the narrative, which is one wherein Cantor Rabinowitz is eager that his son Jakie shall become a cantor" and carry on five generations of family traditions. "The old man’s anger is aroused when one night he hears that Jakie has been singing jazz songs in a saloon. The boy’s heart and soul are with the modern music. He runs away from home and tours the country until, through a friend he is engaged by a New York producer to sing in the Winter Garden," a major theater on Broadway.
But an unfortunate set of coincidences then take place: the opening of his first Broadway show is also on the holiest day of the Jewish calendar, Yom Kippur, the Day of Atonement. Then, on the day of the show, he learns that his father is seriously ill, so returns home to find him on his deathbed, imploring him to take his place at the synagogue as cantor for the holiday service. After a tormenting emotional tug-of-war between his desire for stardom, his family, and religious tradition, he chooses to perform the evening service at the synagogue in place of his father.
Having no choice, the Broadway show's producer had postponed the show for the next evening, and Jakie went on to become a smash success. Writer Neal Gabler called the story "an assimilationist fable," but the story was "close to the true story of Al Jolson," notes author Helen Epstein, "as well as a paradigm for a generation of sons of all kinds of immigrants."
According to film historian Scott Eyman, "by the film's end, the Warner brothers had shown an audience something they had never known, moved them in a way they hadn't expected. The tumultuous ovation at curtain proved that Jolson was not merely the right man for the part of Jackie Rabinowitz, alias Jack Robin; he was the right man for the entire transition from silent fantasy to talking realism. The audience, transformed into what one critic called, 'a milling, battling mob' stood, stamped, and cheered 'Jolson, Jolson, Jolson!'"
At the end of the film, Jolson rose from his seat and ran down to the stage. "God, I think you're really on the level about it. I feel good" he cried to the audience. Stanley Watkins would always remember Jolson signing autographs after the show, tears streaming down his face. May McAvoy, Jolson's costar remembered that "[the] police were there to control the crowds. It was a very big thing, like The Birth of a Nation."
Costar May McAvoy, according to author A. Scott Berg, could not help sneaking into theaters day after day as the film was being run. "She pinned herself against a wall in the dark and watched the faces in the crowd. In that moment just before 'Toot, Toot, Tootsie,' she remembered, 'A miracle occurred. Moving pictures really came alive. To see the expressions on their faces, when Joley spoke to them . . . you'd have thought they were listening to the voice of God.'" "Everybody was mad for the talkies," said movie star Gregory Peck in a Newsweek interview. "I remember 'The Jazz Singer,' when Al Jolson just burst into song, and there was a little bit of dialogue. And when he came out with 'Mammy,' and went down on his knees to his Mammy, it was just dynamite."
This opinion is shared by Mast and Kawin: }}
Film historian Scott Eyman also describes the cultural perspective of the film: }}
Jolson continued to make features for Warner Bros., very similar in style to The Singing Fool, Say It with Songs (1929), Mammy (1930), and Big Boy (1930). A restored version of Mammy, which includes Jolson in some Technicolor sequences, was first screened in 2002. (Jolson's first Technicolor appearance was in a cameo in the musical Show Girl in Hollywood (1930) from First National Pictures, a Warner Bros. subsidiary.) The sameness of the stories, Jolson's large salary, and changing public tastes in musicals contributed to the films' diminishing returns over the next few years. As a result of this, Jolson decided to return to Broadway, and starred in a new show, entitled Wonder Bar, which was not very successful.
As the title suggests, the film was a direct response to the Great Depression, with messages to his vagabond friends equivalent to "there's more to life than money" and "the best things in life are free". A New York Times review wrote, "The picture, some persons may be glad to hear, has no Mammy song. It is Mr. Jolson's best film and well it might be, for that clever director, Lewis Milestone, guided its destiny.... a combination of fun, melody and romance, with a dash of satire..." Another review added, "A film to welcome back, especially for what it tries to do for the progress of the American musical..."
Reviews were generally positive: "Wonder Bar has got about everything. Romance, flash, dash, class, color, songs, star-studded talent and almost every known requisite to assure sturdy attention and attendance... It's Jolson's comeback picture in every respect."; and, "Those who like Jolson should see Wonder Bar for it is mainly Jolson; singing the old reliables; cracking jokes which would have impressed Noah as depressingly ancient; and moving about with characteristic energy." Returning to Warners, Jolson bowed to new production ideas, focusing less on the star and more on elaborately cinematic numbers staged by Busby Berkeley and Bobby Connolly. This new approach worked, sustaining Jolson's movie career until the Warner contract lapsed in 1935. Jolson co-starred with his actress-dancer wife, Ruby Keeler, only once, in Go Into Your Dance.
According to jazz historian Michael Alexander, Jolson had once griped that "People have been making fun of Mammy songs, and I don't really think that it's right that they should, for after all, Mammy songs are the fundamental songs of our country." In this film, he notes, "Jolson had the confidence to rhyme 'Mammy' with 'Uncle Sammy'", adding "Mammy songs, along with the vocation 'Mammy singer', were inventions of the Jewish Jazz Age."
The film also gave a boost to the career of black singer and bandleader Cab Calloway, who performed a number of songs alongside Jolson. In his autobiography, Calloway writes about this episode:
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The Singing Kid was not one of the studio's major attractions, (it went out under the subsidiary First National trademark,) and Jolson didn't even rate star billing. The song "I Love to Singa" later appeared in Tex Avery's cartoon of the same name. The movie also became the first important role for future child star Sybil Jason in a scene directed by Busby Berkeley. Jason remembers that Berkeley worked on the film although he is not credited.
Skolsky pitched the idea of an Al Jolson biopic and Cohn agreed. It was directed by Alfred E. Green (best known today for the pre-Code masterpiece Baby Face), with musical numbers staged by Joseph H. Lewis. With Jolson providing almost all the vocals, and veteran Columbia contractee Larry Parks playing Jolson, The Jolson Story (1946) became one of the biggest hits of the year.
Larry Parks wrote, in a personal tribute to Jolson, "Stepping into his shoes was, for me, a matter of endless study, observation, energetic concentration to obtain, perfectly if possible, a simulation of the kind of man he was. It is not surprising, therefore, that while making The Jolson Story, I spent 107 days before the cameras and lost eighteen pounds in weight." From a review in Variety, "But the real star of the production is that Jolson voice and that Jolson medley. It was good showmanship to cast this film with lesser people, particularly Larry Parks as the mammy kid... As for Jolson's voice, it has never been better. Thus the magic of science has produced a composite whole to eclipse the original at his most youthful best."
Parks received an Academy Award nomination for Best Actor, and the film became one of the highest-grossing films of the year. Although Jolson was too old to play himself in the film, he persuaded the studio to let him appear in one musical sequence, "Swanee", shot entirely in long shot, with Jolson in blackface singing and dancing onto the runway leading into the middle of the theater. In the wake of the film's success, Jolson became a top singer among the American public once again. Decca Records signed Jolson and he recorded for Decca until his death.
While wandering around New Orleans before a show with Dockstader's Minstrels, he enters a small club where a group of black jazz musicians are performing. "Jolson has a revelation, that the staid repertoire of the minstrel troupe can be transformed by actually playing black music in blackface. He tells Dockstader that he wants to sing what he has just experienced: 'I heard some music tonight, something they call jazz. Some fellows just make it up as they go along. They pick it up out of the air.' After Dockstader refuses to accommodate Jolson's revolutionary concept, the narrative chronicles his climb to stardom as he allegedly injects jazz into his blackface performances ... Jolson's success is built on anticipating what Americans really want. Dockstader performs the inevitable function of the guardian of the status quo, whose hidebound commitment to what is about to become obsolete reinforces the audience's sympathy with the forward-looking hero."
This has been a theme which was traditionally "dear to the hearts of the men who made the movies." Film historian George Custen describes this "common scenario, in which the hero is vindicated for innovations that are initially greeted with resistance ... [T]he struggle of the heroic protagonist who anticipates changes in cultural attitudes is central to other white jazz biopics such as The Glenn Miller Story (1954) and The Benny Goodman Story (1955)". "Once we accept a semantic change from singing to playing the clarinet, The Benny Goodman Story becomes an almost transparent reworking of The Jazz Singer ... and The Jolson Story."
In Baltimore, Maryland, he took his wife Erle to see St Mary's Catholic School where he was confined for a while as a boy and treated for tuberculosis. He introduced her to the same priest, Father Benjamin, who watched over him. That night, Jolson took over two hundred of the church's kids to see Jolson Sings Again at the Hippodrome Theatre. A few weeks later, the Jolsons were received by President Harry Truman at the White House.
The next year, Jolson was named "Personality of the Year" by the Variety Clubs of America. When Jolson appeared on Bing Crosby's radio show, he attributed his receiving the award to his being the only singer not to make a record of Mule Train, which had been a widely covered hit of that year (four different versions, one of them by Crosby, had made the top ten on the charts). Jolson even joked that he had tried to sing the hit song: "I got the clippetys all right, but I can't clop like I used to."
From a New York Times interview in 1942: "When the war started... [I] felt that it was up to me to do something, and the only thing I know is show business. I went around during the last war and I saw that the boys needed something besides chow and drills. I knew the same was true today, so I told the people in Washington that I would go anywhere and do an act for the Army." Shortly after the war began, he wrote a letter to Steven Early, press secretary to President Franklin D. Roosevelt, volunteering "to head a committee for the entertainment of soldiers and said that he "would work without pay... [and] would gladly assist in the organization to be set up for this purpose". A few weeks later, he received his first tour schedule from the newly formed United Services Organization (USO), "the group his letter to Early had helped create".
He did as many as four shows a day in the jungle outposts of Central America and covered the string of U.S. Naval bases. He paid for part of the transportation out of his own pocket. Upon doing his first, and unannounced, show in England in 1942, the reporter for the Hartford Courant wrote, "... it was a panic. And pandemonium... when he was done the applause that shook that soldier-packed room was like bombs falling again in Shaftsbury Avenue."
From an article in the New York Times: "He [Jolson] has been to more Army camps and played to more soldiers than any other entertainer. He has crossed the Atlantic by plane to take song and cheer to the troops in Britain and Northern Ireland. He has flown to the cold wastes of Alaska and the steaming forests of Trinidad. He has called at Dutch‑like Curaçao. Nearly every camp in this country has heard him sing and tell funny stories." Some of the unusual hardships of performing to active troops were described in an article he wrote for Variety, in 1942: "In order to entertain all the boys ... it became necessary for us to give shows in foxholes, gun emplacements, dugouts, to construction groups on military roads; in fact, any place where two or more soldiers were gathered together, it automatically became a Winter Garden for me and I would give a show." After returning from a tour of overseas bases, the Regimental Hostess at one camp wrote to Jolson, "Allow me to say on behalf of all the soldiers of the 33rd Infantry that you coming here is quite the most wonderful thing that has ever happened to us, and we think you're tops, not only as a performer, but as a person. We unanimously elect you Public Morale Lifter No. 1 of the U.S Army."
Jolson was officially enlisted in the United Service Organizations (USO), the organization which provided entertainment for American troops who served in combat overseas. While serving in the USO, he received a Specialist rating due to his age, which would permit him to wear a uniform and have the same standing as an officer. During his time entertaining troops he caught malaria and lost a lung.
In 1946, during a nationally broadcast testimonial dinner in New York City, given on his behalf, he received a special tribute from the American Veterans Committee in honor of his volunteer services during WWII. And in 1949, the movie Jolson Sings Again recreated some scenes showing Jolson during his war tours here.
On September 17, 1950, a dispatch from 8th Army Headquarters, Korea, announced, "Al Jolson, the first top-flight entertainer to reach the war-front, landed here today by plane from Los Angeles..." This time, Jolson had shelved plans for a third movie biography along with a TV show and traveled to Korea at his own expense. "[A]nd a lean, smiling Jolson drove himself without letup through 42 shows in 16 days."
Before returning to the U.S., General Douglas MacArthur, leader of UN forces, gave him a medallion inscribed "To Al Jolson from Special Services in appreciation of entertainment of armed forces personnel ‑ Far East Command”, with his entire itinerary inscribed on the reverse side. A few months later, an important bridge, named the "Al Jolson Bridge", was used to withdraw the bulk of American troops from North Korea. The bridge was the last remaining of three bridges across the Han River and was used to evacuate UN forces. It was demolished by UN forces after the army made it safely across in order to prevent the North Koreans from crossing.
Alistair Cooke wrote, "He [Jolson] had one last hour of glory. He offered to fly to Korea and entertain the troops hemmed in on the United Nations precarious August bridgehead. The troops yelled for his appearance. He went down on his knee again and sang 'Mammy', and the troops wept and cheered. When he was asked what Korea was like he warmly answered, 'I am going to get back my income tax returns and see if I paid enough.'"
Entertainer Jack Benny, who went to Korea the following year, noted that an amphitheater in Korea where troops were entertained, was named the "Al Jolson Bowl."
;New U.S.O. movie Just 10 days after he returned from Korea, he had agreed with R.K.O. producers Jerry Wald and Norman Krasna to star in a new movie, Stars and Stripes for Ever, about a U.S.O. troupe in the South Pacific during World War II. The screenplay was to be written by Herbert Baker, writer of the 1980 version of The Jazz Singer starring Neil Diamond. The film was to costar singer Dinah Shore.
But just two weeks after the agreement, Jolson died suddenly of a heart attack in San Francisco, due partly to the physical exertion he suffered in Korea. He was survived by his wife and their two recently adopted children. A few months after his death, Defense Secretary George Marshall presented the Medal for Merit to 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.N. action in Korea was made at the expense of his life", was presented to Jolson's adopted son as Jolson's widow looked on.
After a year and a half of marriage, his new wife had actually never seen him perform in front of an audience, and the first occasion came unplanned. As told by actor comedian Alan King, it happened during a dinner by the New York Friars' Club at the Waldorf Astoria in 1946, honoring the career of Sophie Tucker. Jolson and his wife were in the audience along with a thousand others, and George Jessel was emcee. He asked Al, privately, to perform at least one song. Jolson replied, "No, I just want to sit here." Then later, without warning, during the middle of the show, Jessel says, "Ladies and gentlemen, this is the easiest introduction I ever had to make. The world's greatest entertainer, Al Jolson." King recalls what happened next:
After his wife received the news of his death by phone, she went into shock, and required family members to stay with her. At the funeral, police estimated upwards of 20,000 people showed up, despite threatened rain. It became one of the biggest funerals in show business history. Celebrities paid tribute: Bob Hope, speaking from Korea via short wave radio, said the world had lost "not only a great entertainer, but also a great citizen." Larry Parks said that the world had "lost not only its greatest entertainer, but a great American as well. He was a casualty of the [Korean] war." Scripps-Howard newspapers drew a pair of white gloves on a black background. The caption read, "The Song Is Ended."
Newspaper columnist and radio reporter Walter Winchell said,
:"He was the first to entertain troops in World War Two, contracted malaria and lost a lung. Then in his upper sixties he was again the first to offer his singing gifts for bringing solace to the wounded and weary in Korea.
:"Today we know the exertion of his journey to Korea took a greater toll of his strength than perhaps even he realized. But he considered it his duty as an American to be there, and that was all that mattered to him. Jolson died in a San Francisco hotel. Yet he was as much a battle casualty as any American soldier who has fallen on the rocky slopes of Korea … A star for more than 40 years, he earned his most glorious star rating at the end — a gold star."
Friend George Jessel said during part of his eulogy,
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;Memorial He was interred in the Hillside Memorial Park Cemetery in Culver City, California. According to Cemetery Guide, Jolson’s widow purchased a plot at Hillside and commissioned his mausoleum to be designed by well-known black architect Paul Williams. The six-pillar marble structure is topped by a dome, next to a three-quarter-size bronze statue of Jolson, eternally resting on one knee, arms outstretched, apparently ready to break into another verse of “Mammy”. The inside of the dome features a huge mosaic of Moses holding the tablets containing the Ten Commandments, and identifies Jolson as “The Sweet Singer of Israel” and “The Man Raised Up High”. On the day he died, Broadway dimmed its lights in Jolson's honor, and radio stations all over the world were paying tributes. Soon after his passing, the BBC presented a special program entitled Jolson Sings On. His death unleashed tributes from all over the world, including a number of eulogies from friends, including George Jessel, Walter Winchell, and Eddie Cantor. He contributed millions to Jewish and other charities in his will.
In October, 2008, a new documentary film, Al Jolson and The Jazz Singer, premiered at the 50th Lübeck Nordic Film Days, Lübeck, Germany, and won 1st Prize at an annual film competition in Kiel a few weeks later. In November, 2007, a similar documentary, A Look at Al Jolson, was winner at the same festival. Jolson's music remains very popular today both in America and abroad with numerous CDs in print.
Jolson has three stars on the Hollywood Walk of Fame:
Forty-four years after Jolson's death, the United States Postal Service honored him by issuing a postage stamp. The 29-cent stamp was unveiled by Erle Jolson Krasna, Jolson's fourth wife, at a ceremony in New York City's Lincoln Center on September 1, 1994. This stamp was one of a series honoring popular American singers, which included Bing Crosby, Nat King Cole, Ethel Merman, and Ethel Waters. And in 2006, Jolson had a street in New York named after him with the help of the Al Jolson Society.
A few of the people and places that have been influenced by Jolson: ;Irving Berlin :As the movies became a vital part of the entertainment industry, Berlin was forced to "reinvent himself as a songwriter". Biographer Laurence Bergreen wrote that Berlin's music was "Too old fashioned for progressive Broadway, his music was thoroughly up-to-date in conservative Hollywood." He had his earliest piece of luck in the first sound picture, The Jazz Singer, where Jolson performed his song "Blue Skies", the first time a song was ever performed in a feature film. In 1930, he wrote the music for Jolson's fourth movie, Mammy, which included hit songs such as "Let Me Sing and I'm Happy", "Pretty Baby", and "Mammy".
;Judy Garland :Garland had performed a tribute to Jolson in her concerts of 1951 at the London Palladium and at New York's Palace Theater. Both concerts were to become "central to this first of her many comebacks, and centered around her impersonation of Al Jolson... performing "Swanee" in her odd vocal drag of Jolson." Watch
;Bing Crosby :Music historian Richard Grudens writes that Kathryn Crosby cheerfully reviewed the chapter about her beloved Bing and his inspiration, Al Jolson. . .where Bing had written, "His chief attribute was the sort of electricity he generated when he sang. Nobody in those days did that. When he came out and started to sing, he just elevated that audience immediately. Within the first eight bars he had them in the palm of his hand." In Crosby's Pop Chronicles interview, he fondly recalled seeing Jolson perform and praised his "electric delivery".
:Crosby's biographer Gary Giddins wrote of Crosby's admiration for Jolson's performance style: "Bing marveled at how he seemed to personally reach each member of the audience." Crosby once told a fan, "I'm not an electrifying performer at all. I just sing a few little songs. But this man could really galvanize an audience into a frenzy. He could really tear them apart."
;Tony Bennett :"My father... took us to see one of the first talking pictures, The Singing Fool, in which Al Jolson sang "Sonny Boy". In a way, you could say that Jolson was my earliest influence as a singer. I was so excited by what I saw that I spent hours listening to Jolson and Eddie Cantor on the radio. In fact, I staged my first public performance shortly after seeing that movie... to imitate Jolson... I leaped into the living room and announced to the adults, who were staring at me in amazement, 'Me Sonny Boy!' The whole family roared with laughter."
;Neil Diamond :Journalist David Wild writes that the 1927 movie The Jazz Singer, would mirror Diamond's own life, "the story of a Jewish kid from New York who leaves everything behind to pursue his dream of making popular music in Los Angeles". Diamond says it was "the story of someone who wants to break away from the traditional family situation and find his own path. And in that sense, it 'is' my story." In 1972, Diamond gave the first solo concert performance on Broadway since Al Jolson, and starred in the 1980 remake of Jazz Singer, with Laurence Olivier and Lucie Arnaz.
;Jerry Lewis :Actor and comedian Jerry Lewis starred in a televised version (without blackface) of The Jazz Singer in 1959. Lewis's biographer, Murray Pomerance, writes that "Jerry surely had his father in mind when he remade the film", adding that Lewis himself "told an interviewer that his parents had been so poor that they could not afford to give him a bar mitzvah." In 1956, Lewis recorded "Rock-A-Bye Your Baby".
;Eddie Fisher :On a tour of the Soviet Union with his then wife, Elizabeth Taylor, Fisher wrote in his autobiography that "Khrushchev's mistress asked me to sing... I was the first American to be invited to sing in the Kremlin since Paul Robeson. The next day the Herald-Tribune headlines [read] 'Eddie Fisher Rocks the Kremlin'. I gave them my best Jolson: "Swanee", "April Showers" and finally "Rock-A-Bye Your Baby With A Dixie Melody". I had the audience of Russian diplomats and dignitaries on their feet swaying with me." In 1951, Fisher dedicated his "smash hit" song, "Good-bye, G.I. Al," to Jolson, and presented a copy personally to Jolson's widow. With one of his later wives, Connie Stevens, had a daughter, Joely Fisher, whose name honors Jolson.
;Bobby Darin :Darin's biographer, David Evanier, writes that when Darin was a youngster, stuck at home because of rheumatic fever, "[h]e spent most of the time reading and coloring as well as listening to the big-band music and Jolson records... He started to do Jolson imitations... he was crazy about Jolson." Darin's manager, Steve Blauner, who also became a movie producer and vice president of Screen Gems, likewise began his career "as a little boy doing Al Jolson imitations after seeing The Jolson Story 13 times ..."
;Ernest Hemingway :In his memoirs, A Movable Feast, Ernest Hemingway wrote that "Zelda Fitzgerald... leaned forward and said to me, telling me her great secret, 'Ernest, don't you think Al Jolson is greater than Jesus?'"
;State of California :According to California historians Stephanie Barron and Sheri Bernstein, "few artists have done as much to publicize California as did Al Jolson" who performed and wrote the lyrics for "California, Here I Come". It is considered the unofficial song of the Golden State.
;Mario Lanza :Mario Lanza's biographer, Armando Cesari, writes that Lanza's "favorite singers included Al Jolson, Lena Horne, Tony Martin and Toni Arden."
;Jerry Lee Lewis :According to singer and songwriter Jerry Lee Lewis, "there were only four true American originals: Al Jolson, Jimmie Rodgers, Hank Williams, and Jerry Lee Lewis." "I loved Al Jolson," he said. "I still got all of his records. Even back when I was a kid I listened to him all the time."
;Rod Stewart :British singer and songwriter Rod Stewart, during an interview in 2003, was asked, "What is your first musical memory?" Stewart replied: "Al Jolson, from when we used to have house parties around Christmas or birthdays. We had a small grand piano and I used to sneak downstairs... I think it gave me a very, very early love of music."
;David Lee Roth :Songwriter and lead singer of the rock group Van Halen, was asked during an interview in 1985, "When did you first decide that you wanted to go into show business?" He replied, "I was seven. I said I wanted to be Al Jolson. Those were the only records I had -- a collection of the old breakable 78s. I learned every song and then the moves, which I saw in the movies."
;Jackie Wilson :African-American singer Jackie Wilson recorded a tribute album to Jolson, You Ain't Heard Nothin' Yet, which included his personal liner note, "...the greatest entertainer of this or any other era... I guess I have just about every recording he's ever made, and I rarely missed listening to him on the radio.... During the three years I've been making records, I've had the ambition to do an album of songs, which, to me, represent the great Jolson heritage.. [T]his is simply my humble tribute to the one man I admire most in this business... to keep the heritage of Jolson alive."
Category:1886 births Category:1950 deaths Category:Actors from Washington, D.C. Category:American film actors Category:American jazz singers Category:American male singers Category:Blackface minstrel performers Category:Deaths from myocardial infarction Category:Decca Records artists Category:Russian film actors Category:Imperial Russian emigrants to the United States Category:Jewish actors Category:Jewish American musicians Category:Jewish singers Category:American people of Lithuanian-Jewish descent Category:Musicians from Washington, D.C. Category:California Republicans Category:American people of Russian-Jewish descent Category:Vaudeville performers Category:Jewish comedians Category:American Jews Category:20th-century actors
ca:Al Jolson cs:Al Jolson cy:Al Jolson de:Al Jolson es:Al Jolson fr:Al Jolson ko:알 졸슨 id:Al Jolson it:Al Jolson he:אל ג'ולסון nl:Al Jolson ja:アル・ジョルソン no:Al Jolson pl:Al Jolson pt:Al Jolson ru:Эл Джолсон simple:Al Jolson sh:Al Jolson fi:Al Jolson sv:Al Jolson yi:על דזשאלסאן bat-smg:Al JolsonThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
"Rip Van Winkle" is a short story by the American author Washington Irving published in 1819, as well as the name of the story's fictional protagonist. Written while Irving was living in Birmingham, England, it was part of a collection entitled The Sketch Book of Geoffrey Crayon. Although the story is set in New York's Catskill Mountains, Irving later admitted, "When I wrote the story, I had never been on the Catskills."
One autumn day, Rip is escaping his wife's nagging, wandering up the mountains with his dog, Wolf. Hearing his name being shouted, Rip discovers that the speaker is a man dressed in antiquated Dutch clothing, carrying a keg up the mountain, who requires Rip's help. Without exchanging words, the two hike up to an amphitheatre-like hollow in which Rip discovers the source of previously-heard thunderous noises: there is a group of other ornately-dressed, silent, bearded men who are playing nine-pins. Although there is no conversation and Rip does not ask the men who they are or how they know his name, he discreetly begins to drink some of their liquor, and soon falls asleep.
He awakes in unusual circumstances: it seems to be morning, his gun is rotted and rusty, his beard has grown a foot long, and Wolf is nowhere to be found. Rip returns to his village where he finds that he recognizes no one. Asking around, he discovers that his wife has died and that his close friends have died in a war or gone somewhere else. He immediately gets into trouble when he proclaims himself a loyal subject of King George III, not knowing that the American Revolution has taken place; George III's portrait on the town inn has been replaced by that of George Washington. Rip is also disturbed to find another man is being called Rip Van Winkle (though this is in fact his son, who has now grown up).
The men he met in the mountains, Rip learns, are rumored to be the ghosts of Hendrick (Henry) Hudson's crew. Rip is told that he has apparently been away from the village for twenty years. An old local recognizes Rip and Rip's now-adult daughter takes him in. Rip resumes his habitual idleness, and his tale is solemnly taken to heart by the Dutch settlers, with other hen-pecked husbands, after hearing his story, wishing they could share in Rip's good luck.
"Rip Van Winkle" was one of the first stories Irving proposed for his new book, The Sketch Book of Geoffrey Crayon. Irving asked his brother Ebeneezer to assist with publication in the United States. As Irving wrote, "I shall feel very anxious to hear of the success of this first re-appearance on the literary stage – Should it be successful, I trust I shall be able henceforth to keep up an occasional fire." 2000 copies of the first octavo-sized installment which included "Rip Van Winkle" were released on June 23, 1819, in New York, Boston, Baltimore, and Philadelphia, published by Cornelius S. Van Winkle and sold at a somewhat expensive 75 cents. A British edition was published shortly after by John Miller, who went out of business immediately after. With help from friend Walter Scott, Irving was able to convince John Murray to take over British publication of the Sketch Book.
The story is also similar to the ancient Jewish story about Honi M'agel who falls asleep after asking a man why he is planting a carob tree which traditionally takes 70 years to mature, making it virtually impossible to ever benefit from the tree's fruit. After this exchange, he falls asleep on the ground and is miraculously covered by a rock and remains out of sight for 70 years. When he awakens, he finds a fully mature tree and that he has a grandson. When nobody believes that he is Honi, he prays to God and God takes him from this world.
In Christian tradition there is the well-known story of "The Seven Sleepers of Ephesus", recounting a group of early Christians who hid in a cave about 250 AD, to escape the persecution of Christians during the reign of the Roman emperor Decius, fell into a miraculous sleep and woke some 200 years later during the reign of Theodosius II, to discover that the city and the whole Empire had become Christian. The story was also taken up by Islam and appears in a famous Sura of the Koran. Irving, who wrote a biography of the Prophet Muhammad, may have been familiar with the story.
The story is also similar to a 3rd century AD Chinese tale of Ranka, as retold by Lionel Giles in A Gallery of Chinese Immortals, and an 8th-century Japanese tale, "Urashima Tarō".
In Orkney there is a similar and ancient folklore tale linked to the Burial mound of Salt Knowe adjacent to the Ring of Brodgar. A drunken fiddler on his way home hears music from the mound. He finds a way in and finds the trowes (Trolls) having a party. He stays and plays for two hours, then makes his way home to Stenness, where he discovers fifty years have passed. The Orkney Rangers believe this may be one source for Washington Irving's tale, because his father was an Orcadian from the island of Shapinsay and would almost certainly have often told his son the tale.
And in Ireland there is the story of Niamh and Oisin, which deals with a similar theme. Oisin falls in love with the beautiful Niamh and leaves with her on her snow white horse to Tir Na nOg – the land of the ever-young. Missing his family and friends, he asks to pay them a visit. Niamh lends him her horse, warning him never to dismount, and he travels back to Ireland. But three hundred years have passed; his family and fellow warriors are all dead. Some men are trying to move a boulder. Oisin reaches down to help them. The girth of the horse's saddle snaps and he falls to the ground. Before the watching eyes of the men he becomes a very, very old man.
Another story was by Diogenes Laertius, an Epicurean philosopher circa early half third century, in his book On the Lives, Opinions, and Sayings of Famous Philosophers. The story is in chapter ten in his section on the Seven Sages, who were the precursors to the first philosophers. The sage was Epimenides. Apparently Epimenides went to sleep in a cave for fifty-seven years. But unfortunately, "he became old in as many days as he had slept years". Although according to the different sources that Diogenes relates, Epimenides lived to be one hundred and fifty-seven years, two hundred and ninety-nine years, or one hundred and fifty-four years old.
==Adaptations== The story has been adapted for other media for the last two centuries, from stage plays to an operetta to cartoons to films. Actor Joseph Jefferson was most associated with the character on the 19th century stage and made a series of short films in 1896 recreating scenes from his stage adaptation, and which are collectively in the U.S. National Film Registry. Jefferson's son, Thomas, followed in his father's footsteps and played the character in a number of early 20th century films.
Composer Ferde Grofe spent twenty years working on a symphonic tone poem based on Rip Van Winkle, eventually reworking the material into his Hudson River Suite. One of the movements is entitled "Rip Van Winkle" and is a musical depiction of the story.
The 1960s Tale Spinners For Children record series included a dramatization of the Rip van Winkle story in which the name of Rip's daughter was changed to "Katrina" and the characters of Nicholas Vedder and Derrick Van Bummel were given more importance.
In the 16th episode of The Famous Adventures of Mr. Magoo, which originally aired on January 16, 1965, Mr. Magoo (voiced by Jim Backus) plays Rip Van Winkle.
The story also inspired an episode of The Flintstones entitled "Rip Van Flintstone", which originally aired on November 5, 1965. In it, Fred falls asleep at the Slate Company Picnic and dreams he has awakened in Bedrock twenty years in the future (population 30,000). He first finds out that Slate Company has gone out of business. Barney has become a rich oil tycoon. Pebbles has married Bamm Bamm. Wilma has become a bitter old widow. Betty is mentioned in the dream sequence but not seen, implying that she has died. Meanwhile, Fred now finds that he is alone and forgotten. At one point during the episode, he even says, "Maybe I have fallen asleep for twenty years like in that Rip Van Winklestone story."
A claymation version of the story was produced and directed by Will Vinton in 1978 and was nominated for an Academy Award Nomination for Short Subject Animation. The animated film was named Rip Van Winkle.
In the Faerie Tale Theatre children's television series hosted by Shelley Duvall in the 1980s, Francis Ford Coppola directed the episode "Rip Van Winkle" in which the Hollywood actor Harry Dean Stanton played the title role.
There is also an episode of the HBO show Happily Ever After: Fairy Tales For Every Child. They retold popular fairy tales by setting them in different cultures and settings and featuring voices provided by celebrities. For Rip Van Winkle they did a Feminist retelling of the story, given a 1960s twist, and told from the point of view of Rip's wife Vanna.
This term was quoted on January 3, 1992, in the Christian Science Monitor by Laura Van Tuyl like below.
Someone who has remained oblivious to social and political changes over an extended period can be said to be 'Rip-Van-Winkleish'. Andrew Higgins wrote in The Observer, 1997
In computing, the deep-sleep aspect of the Rip van Winkle story has caused the deepest power-down mode of the Power Architecture (server variant) to be caused by an instruction called rvwinkle, for Rip van Winkle.
Category:1819 short stories Category:Sleep Category:Short stories by Washington Irving Category:American folklore Category:Characters in short stories Van Winkle, Rip Van Winkle, Rip Category:New York in fiction
ar:ريب فان وينكل bn:রিপ ভ্যান উইঙ্কল de:Rip Van Winkle es:Rip van Winkle fr:Rip Van Winkle gl:Rip Van Winkle it:Rip van Winkle nl:Rip van Winkle ja:リップ・ヴァン・ウィンクル no:Rip Van Winkle pt:Rip van Winkle ru:Рип ван Винкль sv:Rip Van Winkle tr:Rip Van Winkle vi:Rip Van Winkle zh:李伯大夢This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Me and My Girl |
---|---|
Music | Noel Gay |
Lyrics | Douglas Furber L. Arthur Rose |
Book | Douglas Furber L. Arthur Rose |
Productions | 1937 West End 1939 U.K. Television 1952 West End revival 1984 West End revival 1986 Broadway 2006 U.K. tour |
Awards | 1985 Olivier Award Musical of the Year }} |
Me and My Girl is a musical with book and lyrics by Douglas Furber and L. Arthur Rose and music by Noel Gay. It takes place in the late 1930s in Hampshire, Mayfair, and Lambeth.
The musical had a successful original run on the West End in 1937 and very successful revivals in both London and New York in the 1980s. The show stopper, “The Lambeth Walk”, was the subject of a news story in The Times of October 1938: “While dictators rage and statesmen talk, all Europe dances — to The Lambeth Walk.”
A film version was produced in 1940, titled The Lambeth Walk.
It was revived in 1952. In 1984, a revised production opened at the Leicester Haymarket Theatre with a revised script by Stephen Fry and contributions by Mike Ockrent. It transferred to the West End Adelphi Theatre on February 12, 1985 and closed on January 16, 1993 after an eight year run and 3,303 performances. It starred Robert Lindsay as Bill Snibson, Emma Thompson, and Frank Thornton. The production won two Olivier Awards: Musical of the Year and Outstanding Performance by an Actor in a Musical (Robert Lindsay). Cast changes included : Enn Reitel (as Bill Snibson ) and Su Pollard (as Sally Smith) in 1986; Gary Wilmot (as Bill Snibson ) and Jessica Martin (as Sally Smith) in 1989. The production subsequently toured throughout Britain.
The revised London production opened on Broadway at the Marquis Theatre on August 10, 1986, and closed on December 31, 1989, after 1,420 performances. Directed by Mike Ockrent with choreography by Gillian Gregory, the cast starred Robert Lindsay and Maryann Plunkett, with George S. Irving and Jane Connell. The production was nominated for 13 Tony Awards and won for Best Actor, Best Actress and Best Choreographer. Jim Dale succeeded Lindsay in the lead role of Bill. Tim Curry played Bill Snibson in the extensive US Tour that followed the Broadway run.
A 70th anniversary production of Me and My Girl had an eight-month British tour during 2006-07. It was directed and choreographed by Warren Carlyle with a cast including Richard Frame (Bill Snibson), Faye Tozer (Sally Smith), Sylvester McCoy, Trevor Bannister and Dillie Keane.
The original star of Me And My Girl, Lupino Lane, was commemorated at The Actors Church, Covent Garden on Tuesday 10 November 2009.
Sheffield Theatres, United Kingdom produced a revival of 'Me and My Girl' at the Crucible Theatre, Sheffield with previews beginning 2 December 2010 until 29 January 2011. An expected transfer to London's West End was scrapped due to there not being a venue available.
At the party, Bill puts on airs and tries to please his new-found upper-class lawyers, family and servants, but his everyman roots quickly begin to show. Sally shows up in inappropriate garb, with her Lambeth friends, saying that she is going back to where she belongs. Bill seconds this at first but then teaches the nobility The Lambeth Walk.
;Act II Bill must make a speech in the House of Lords in coronet and “vermin”-trimmed peer's robes. Sally leaves, telling him to marry someone with good blood, and, in a scene inspired by Gilbert and Sullivan's Ruddigore, the portraits of Bill's ancestors awaken to remind him of his noblesse oblige. Bill and Sally have gained an ally in Sir John, who offers to help them by engaging a speech professor who will help Sally impress the Duchess.
Bill constantly bemoans his separation from Sally. Preparing another party for Bill, the Duchess realises how much Sally means to him. This puts her in a romantic mood, and she accepts an offer of marriage from Sir John. Bill, dressed in his old outrageous Cockney clothes, declares that he's going home and goes upstairs to pack. Just then, Sally astonishes everyone by arriving in an elegant gown and tiara and speaking with a perfect upper-crust accent. When Bill returns downstairs, Sally conceals her identity. When she reveals it, Bill is relieved and the couple gain the acceptance of the family.
;Act 2
;Tony Awards
;Theatre World Award Robert Lindsay (winner)
Category:West End musicals Category:Broadway musicals Category:1937 musicals Category:Original musicals Category:Olivier Award winning musicals
de:Me and My Girl ja:ミー・アンド・マイガール sv:Lorden från grändenThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Jerry Lewis |
---|---|
birth name | Joseph Levitch |
birth date | March 16, 1926 |
birth place | Newark, New Jersey, U.S. |
occupation | Comedian, actor, film producer, writer, film director, singer, national chairman of the Muscular Dystrophy Association |
years active | 1931–present |
other names | The King of ComedyLe Roi du CrazyPicchiatello |
spouse | Patti Palmer (1944-1980)SanDee Pitnick (1983-present) |
website | jerrylewiscomedy.com |
signature | JerryLewis.png }} |
Lewis is also known for his charity fund-raising telethons and position as national chairman for the Muscular Dystrophy Association (MDA). Lewis has won several awards for lifetime achievements from The American Comedy Awards, The Golden Camera, Los Angeles Film Critics Association, and The Venice Film Festival, and he has two stars on the Hollywood Walk of Fame.
In 2005, he received the Governors Award of the Academy of Television Arts & Sciences Board of Governors, which is the highest Emmy Award presented. On February 22, 2009, the Academy of Motion Picture Arts and Sciences awarded Lewis the Jean Hersholt Humanitarian Award.
Lewis started performing at age five and would often perform alongside his parents in the Catskill Mountains in New York State. By fifteen he had developed his "Record Act", in which he exaggeratedly mimed the lyrics to songs on a phonograph. He used the professional name Joey Lewis, but soon changed it to Jerry Lewis to avoid confusion with comedian Joe E. Lewis and heavyweight boxing champion Joe Louis. He graduated from Irvington High School in Irvington, New Jersey.
They then made appearances on early live television, debuting first on the June 20, 1948 debut broadcast of Toast of the Town with Ed Sullivan on the CBS TV Network (later the Ed Sullivan Show), followed on October 3, 1948 by an appearance on the NBC TV series Welcome Aboard, then as the first of a series of hosts of The Colgate Comedy Hour in 1950, and finally as film stars in a string of successes for Paramount Pictures.
However, as Martin's roles in their films became less important, the partnership became strained. Martin's diminished participation became an embarrassment in 1954, when Look magazine used a publicity photo of the team for the magazine cover, but cropped Martin out of the photo. The partnership finally ended on July 24, 1956. Attesting the team's popularity, DC Comics published the best-selling The Adventures of Dean Martin and Jerry Lewis comic books from 1952 to 1957. The series continued a year after the team broke up as DC Comics then featured Lewis solo, until 1971, in The Adventures of Jerry Lewis comic books. In this latter series, Lewis was sometimes featured with Superman, Batman, and various other DC Comics heroes and villains.
Both Martin and Lewis went on to successful solo careers, but for years neither would comment on the split, nor consider a reunion. They made at least a couple of public appearances together between the breakup and 1961, but then were not seen together in public until a surprise appearance by Martin on Lewis's Labor Day Muscular Dystrophy Telethon in 1976, arranged by Frank Sinatra.
The pair eventually reconciled in the late 1980s after the death of Martin's son, Dean Paul Martin. The two men were seen together on stage in Las Vegas when Lewis pushed out Dean's birthday cake and sang Happy Birthday to him. In Lewis's 2005 book Dean and Me (A Love Story), Lewis wrote of his kinship with Martin, who had died in 1995.
Lewis tried his hand at releasing an album in the 1950s, having a chart hit with the song "Rock-a-Bye Your Baby with a Dixie Melody" (a song largely associated with Al Jolson and later re-popularized by Judy Garland) as well as the song, "It All Depends on You" in 1958. He eventually released his own album titled, Jerry Lewis Just Sings. By the end of his contract with producer Hal B. Wallis, Lewis had several productions of his own under his belt.
His first three efforts, The Delicate Delinquent (1957), Rock-A-Bye Baby (1958) and The Geisha Boy (1958), were all efforts to move away from Wallis, who Lewis felt was hindering his comedy. In 1960, Lewis finished his contract with Wallis with Visit to a Small Planet (1960), and wrapped up work on his own production, Cinderfella. Cinderfella was postponed for a Christmas 1960 release, and Paramount, needing a quickie feature film for its summer 1960 schedule, held Lewis to his contract to produce one. Lewis came up with The Bellboy. Using the Fontainebleau Hotel in Miami as his setting—and on a small budget, with a very tight shooting schedule, and no script—Lewis shot the film by day and performed at the hotel in the evenings. Bill Richmond collaborated with him on the many sight gags.
In a 2005 interview, Lewis revealed that Paramount were not happy financing a 'silent movie' and withdrew backing. Lewis used his own funds to cover the $950,000 budget. Much to Paramount's dismay, the movie had grossed in excess of $200,000,000 by the time of the interview. During production Lewis developed the technique of using video cameras and multiple closed circuit monitors, which allowed him to review his performance instantly. His techniques and methods, documented in his book and his USC class, enabled him to complete most of his films on time and under budget.
Later, he incorporated videotape, and as more portable and affordable equipment became available, this technique would become an industry standard known as video assist. Lewis followed The Bellboy by directing several more films which he co-wrote with Richmond, including The Ladies Man (1961), The Errand Boy (1961), The Patsy (1964) and the well-known comedy hit, The Nutty Professor (1963), which was later successfully remade as a vehicle for Eddie Murphy in 1996 and followed by a sequel in 2000, Nutty Professor II: The Klumps both executive produced by Lewis for Universal Pictures and Image Entertainment.
Lewis occasionally handed directing reins to Frank Tashlin, who directed several of his productions, including It's Only Money (1962) and Who's Minding the Store? (1963). In 1965, Lewis directed and (along with Bill Richmond) wrote the comedy film The Family Jewels about a young heiress who must choose among six uncles, one of whom is up to no good and out to harm the girl's beloved bodyguard who practically raised her. Lewis played all six uncles and the bodyguard.
By 1966, Lewis, now 40, was no longer an angular juvenile and his routines seemed more labored. His box office appeal waned to the point where Paramount Pictures new executives felt no further need for the Lewis comedies. Undaunted, Lewis packed up and went to Columbia Pictures, where he made several more comedies. Lewis taught a film directing class at the University of Southern California in Los Angeles for a number of years; his students included Steven Spielberg and George Lucas.
In 1968, he screened Spielberg's early film, Amblin' and told his students, "That's what filmmaking is all about." Lewis starred in and directed the unreleased The Day the Clown Cried in 1972. The film was a drama set in a Nazi concentration camp. Lewis rarely discusses the experience, but once explained why the film has not been released, by suggesting litigation over post-production financial difficulties. However, he admitted during his book tour for Dean and Me that a major factor for the film's burial is that he is not proud of the effort.
Lewis also appeared in stage musicals. In 1976, he appeared in a revival of Hellzapoppin' with Lynn Redgrave, but it closed on the road before reaching Broadway. In 1994, he made his Broadway debut, as a replacement cast member playing the Devil in a revival of the baseball musical, Damn Yankees, choreographed by future film director Rob Marshall (Chicago). Lewis returned to the screen in 1981 with Hardly Working, a film he both directed and starred in.
Despite being panned by the critics, the film did eventually earn $50 million. He followed this up with a critically acclaimed performance in Martin Scorsese's 1983 film, The King of Comedy, in which Lewis plays a late-night TV host plagued by obsessive fans (played by Robert De Niro and Sandra Bernhard). The role had been based on and originally offered to Johnny Carson. Lewis continued doing work in small films in the 1990s, most notably his supporting roles in 1994's Arizona Dream and 1995's Funny Bones. He appeared on television on one episode of Mad About You's first season in 1992, playing an eccentric billionaire. In 2008, Lewis reprised his role as Prof. Kelp in The Nutty Professor, his first CGI animated film and follow-up to his original 1963 film co-starring Drake Bell as his nephew, Harold Kelp.
On television, Lewis starred in three different programs called The Jerry Lewis Show. The first was a two-hour Saturday night variety show on ABC in the fall of 1963. The lavish, big-budget production failed to find an audience and was canceled after 13 weeks. His next show was a one-hour variety show on NBC in 1967-69. A test of a syndicated talk show for Metromedia in 1984 was not continued beyond the scheduled five shows. Lewis and his popular movie characters were animated in the Filmation cartoon series, Will the Real Jerry Lewis Please Sit Down. First aired on ABC in 1970, it lasted only one season and eighteen episodes. The show starred David Lander (Laverne & Shirley) as the voice of the animated Lewis character.
Lewis has long remained popular in Europe: he was consistently praised by some French critics in the influential magazine Cahiers du Cinéma for his absurd comedy, in part because he had gained respect as an auteur who had total control over all aspects of his films, comparable to Howard Hawks and Alfred Hitchcock. In March 2006, the French Minister of Culture awarded Lewis the Légion d'honneur, calling him the "French people's favorite clown". Liking Lewis has long been a common stereotype about the French in the minds of many English-speakers, and is often the object of jokes in Anglosphere pop culture.
In 1994, the Columbia Pictures film, North featured footage of Lewis's classic movies. In June 2006, Lewis first announced plans to write and direct a stage musical adaptation of his 1963 film, The Nutty Professor. In October 2008, in an interview on Melbourne radio, Lewis said he had signed composers Marvin Hamlisch and Rupert Holmes to write the show for a Broadway opening in November 2010. In 2009, Lewis traveled to the Cannes Film Festival to announce his return to the silver screen after a 13 year absence for the film Max Rose, his first leading role since Martin Scorsese's The King of Comedy. In early 2011, Lewis had signed a deal with Artificial Intelligence Entertainment and Capital Films to remake the three of his 60s cinema classics The Bellboy, Cinderfella and The Family Jewels. Lewis will serve as co-executive producer of the films.
On May 16, 2011, it was originally announced by MDA that the 2011 edition of his annual telethon will be Lewis' last as host, after hosting the annual event since 1954, he will continue to serve as the association's national chairman. Soon afterward, however, Lewis denied that he was leaving the telethon at all, but on August 3, 2011, the MDA announced that Lewis resigned as chairman and telethon host, the circumstances leading to his resignation unknown.
Lewis has been criticized by members of the disability rights community. In 1990, he wrote a first-person essay entitled "If I Had Muscular Dystrophy" for Parade magazine, in which he characterized those with muscular dystrophy as "being half a person". Many in the disabled community viewed his remarks as prejudicial, contributing to the idea that people with disabilities are "childlike, helpless, hopeless, non functioning and noncontributing members of society". Members of the disability rights community object to Lewis receiving the Jean Hersholt Humanitarian Award.
In February 2000, Lewis stunned an audience gathered to honor his work at the U.S. Comedy Arts Festival by saying he did not like female comics. Lewis said, "I don't like any female comedians. A woman doing comedy doesn't offend me, but sets me back a bit. I, as a viewer, have trouble with it. I think of her as a producing machine that brings babies in the world." He later defended the remark, saying it was taken wildly out of context, and added that he made 11 movies with comic character actress Kathleen Freeman.During the 2007 Labor Day Telethon, Lewis almost let slip the word "faggot" while live on air. While talking to a cameraman, he joked: "Oh, your family has come to see you. You remember Bart, your oldest son, Jesse, the illiterate fag--no...", at which point he turned away from the camera.
He had six sons and one adopted daughter: Gary Harold Lee Levitch was born on July 31, 1945 to Lewis and Patti Palmer. Gary Levitch's name was subsequently legally changed to Gary Lewis. As a 1960s pop musician, Gary Lewis had a string of hits with his group Gary Lewis & the Playboys.
Lewis currently resides in Las Vegas, Nevada.
He became addicted to the pain killer Percodan, but says he has been off the drug since 1978 and has not taken one since. In April 2002, Lewis had a "Synergy" neurostimulator, developed by Medtronic, implanted in his back, which has helped reduce the discomfort. He is now one of Medtronic's leading spokespeople.
In December 1982, Lewis suffered a serious heart attack and then a second minor heart attack on June 11, 2006, at the end of a cross-country commercial airline flight en route home from New York City. It was discovered that he had pneumonia as well as a severely damaged heart. He underwent a cardiac catheterization and two stents were inserted into one of his coronary arteries, which had become 90% blocked. The surgery resulted in a return of blood flow to his heart and has allowed him to continue his rebound from earlier lung problems. Having the cardiac catheterization also meant canceling several major events from his schedule, but Lewis fully recuperated in a matter of weeks.
In 1999, his Australian tour was cut short when he had to be hospitalized in Darwin with viral meningitis. He was ill for more than five months. It was reported in the Australian press that he had failed to pay his medical bills; however, Lewis maintained that the payment confusion was the fault of his health insurer. The resulting negative publicity caused him to sue his insurer for US$100 million.
Lewis has had prostate cancer, diabetes I, and pulmonary fibrosis, and has had at least two heart attacks. A third heart attack, claimed to have been sustained while filming Cinderfella in 1960, has not been confirmed officially. Prednisone treatment in the early 2000s for pulmonary fibrosis resulted in weight gain and a noticeable change in his appearance.
In September 2001, he was unable to perform at a planned charity event produced by comedian Steven Alan Green at the London Palladium. (Green's take on the event was turned into a one-person show, I Eat People Like You For Breakfast, which Green performed at the 2003 Edinburgh Festival.) Some months thereafter, Lewis began an arduous, months-long therapy which weaned him off prednisone and enabled him to return to work.
Lewis began hosting telethons to benefit MDA in 1952. From 1966 to 2010 he hosted the annual Jerry Lewis MDA Telethon, since renamed the MDA Labor Day Telethon. It has raised over $2.6 billion. On August 3, 2011, it was announced that Lewis would no longer host any further telethons.
1952 – Winner of the special Photoplay Award 1952 – Nominee for Best Comedian or Comedienne 1954 – Winner for the Most Cooperative Actor, Golden Apple Award
;1960s
1965 – Winner, Golden Laurel, Special Award – Family Comedy King
;1970s
1977 – Nominee, the Nobel Peace Prize, by US Representative Les Aspin. Aspin noted that in 11 years, the MDA Jerry Lewis Labor Day Telethon had raised more than $95 million for the Muscular Dystrophy Association.
;1980s
1983 – Nominee, Best Actor in a Supporting Role for The King of Comedy, British Academy Film Awards
;1990s
1997 – Winner, Lifetime Achievement Award, American Comedy Awards
;2000s
2004 – Winner, Career Achievement Award, Los Angeles Film Critics Association
2005 – Winner, Governors Award, Primetime Emmy Awards 2006 – Winner, Satellite Award for Outstanding Guest Star on TV's Law & Order: Special Victims Unit
2009 – Winner, Jean Hersholt Humanitarian Award at the 81st Academy Awards
;2010s
Before Tom Lehrer introduces the song "National Brotherhood Week", he mentions the non-existent "Make Fun of the Handicapped Week", that Frank Fontaine and Jerry Lewis are in charge of as you Know." (Source: "That was the Year that Was" Tom Lehrer. 1965.)
;Videos
Category:1926 births Category:Academy Honorary Award recipients Category:Actors from New Jersey Category:American comedians Category:American film actors Category:American Jews Category:American television personalities Category:Cancer survivors Category:Commandeurs of the Légion d'honneur Category:Decca Records artists Category:Jewish actors Category:Jewish comedians Category:Liberty Records artists Category:Living people Category:People from Irvington, New Jersey Category:People from Newark, New Jersey Category:American people of Russian-Jewish descent Category:Vaudeville performers Category:Jewish activists
an:Jerry Lewis bg:Джери Люис ca:Jerry Lewis cs:Jerry Lewis da:Jerry Lewis de:Jerry Lewis es:Jerry Lewis fa:جری لوئیس fr:Jerry Lewis is:Jerry Lewis it:Jerry Lewis he:ג'רי לואיס nl:Jerry Lewis ja:ジェリー・ルイス pl:Jerry Lewis pt:Jerry Lewis ro:Jerry Lewis ru:Джерри Льюис sq:Jerry Lewis simple:Jerry Lewis sl:Jerry Lewis fi:Jerry Lewis sv:Jerry Lewis ta:ஜெர்ரி லுவிஸ் tr:Jerry LewisThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Isham Jones |
---|---|
background | non_vocal_instrumentalist |
birth date | January 31, 1894 |
died | October 19, 1956 Hollywood, Florida, United States |
origin | Coalton, Ohio, United States |
occupation | Songwriter, bandleader, saxophonist, bassist |
website | }} |
The Isham Jones band made a series of popular gramophone records for Brunswick throughout the 1920s. He led one of the most popular dance bands in the 1920s and 1930s. His first successful recording, Wabash Blues written by Dave Ringle and Fred Meinken, was recorded in 1921 by Isham Jones and his Orchestra. This million-seller stayed twelve weeks in the U.S. charts, six at No. 1. Noted musicians who played in Jones' band included Louis Panico, Benny Goodman (although he did not make any records during the short time he was with them), Woody Herman, Walt Yoder, and Roy Bargy.
Jones was reportedly a strict taskmaster and was known for being rather cold and distant. His lushly romantic compositions seem at odds with his reported personality.
From the start, his Brunswick records were extremely popular. There was a gap from October 1927 to June 1929 where Jones did not record due to disbanding and reorganization.
From 1929 to 1932, his Brunswick recordings became even more sophisticated with often very unusual arrangements (by Gordon Jenkins and others; Jones was his own arranger early on, but cultivated others for offbeat arrangements). During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists. Stone had an unusual, almost humorous tone to his voice. His other vocalists included Frank Sylvano, Billy Scott, Arthur Jarrett and Stone beginning in 1929 and in 1932, he added Joe Martin, another of the band's violinists. In April that year, young Bing Crosby recorded two sessions with Jones' group which included "Sweet Georgia Brown". Crosby at this point in his career was still singing in a jazz idiom, transitioning to his better known "crooner" style.
In August 1932, Jones began appearing on Victor, and these records are generally considered among the very best arranged and performed commercial dance band records of the Depression era. Victor's recording technique was especially suited to Jones' band. In October 1932, he teamed up with the Three X Sisters in New York who had just departed from CBS radio. They recorded "experimental" songs for RCA Victor which Jones began to fuse jazz, and early swing music. They recorded Where, I Wonder Where? and What Would Happen To Me If Something Happened To You. His Victor releases had an almost symphonic sound. He stayed with Victor until July 1934, when he signed with Decca. (Jones' recordings during this period rivaled Paul Whiteman and other dance orchestras as examples of the very best and most popular dance music of the era.)
After he left Decca in 1936, he again retired and his orchestra was taken over by band member Woody Herman. Another Jones edition, in 1937-38, recorded a handful of sessions under the ARC labels: Melotone, Perfect and Banner.
In the 1940s, Jones resided on his poultry farm in Colorado, which he occasionally left for short tours with pickup bands. He later resided in Los Angeles. He moved to Hollywood, Florida in 1955, and died there of cancer in 1956. (He is interred at Forest Lawn Cemetery in Los Angeles, and perhaps for that reason is often erroneously listed as having died in Hollywood, California.)
His great-nephew is the noted jazz drummer Rusty Jones.
In 2005, "California, Here I Come", recorded by Al Jolson With The Isham Jones Orchestra on Brunswick in 1924, was inducted into the Grammy Hall of Fame.
In 2007, "It Had To Be You", recorded by Isham Jones and His Orchestra on Brunswick in 1924, was inducted into the Grammy Hall of Fame.
Category:1894 births Category:1956 deaths Category:American bandleaders Category:American violinists Category:American saxophonists Category:Songwriters from Ohio Category:People from Saginaw, Michigan Category:People from Jackson County, Ohio Category:Songwriters Hall of Fame inductees Category:Vocalion Records artists
de:Isham Jones fi:Isham JonesThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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