Asa "Al Jolson" Yoelson (born to Jewish immigrants Moshe Reuben Yoelson and… Read Full Bio ↴Asa "Al Jolson" Yoelson (born to Jewish immigrants Moshe Reuben Yoelson and Naomi Etta Cantor - the original family name was Hesselson - in Seredžius, Lithuania on May 26, 1885 or 1886, and died in San Francisco, California on October 23, 1950) was an American singer. He was one of the most popular entertainers of the first half of the 20th century.

Early life and career

The son of the Rabbi of the Talmud Torah Synagogue (now Ohev Sholom Talmud Torah) in Washington, D.C., Jolson became a popular singer in New York City in 1898, and gradually developed the key elements of his performance: blackface makeup; exuberant gestures; operatic-style singing; whistling and directly addressing his audience.

By 1911, he had parlayed a supporting appearance in the Broadway musical La Belle Paree into a starring role. He began recording and was soon internationally famous for his extraordinary stage presence and personal rapport with audiences. His Broadway career is unmatched for length and popularity, having spanned close to 30 years (1911-1940). Audiences shouted, pleaded, and often would not allow the show to proceed, such was the power of Jolson's presence. At one performance in Boston, the usual staid and conservative audience stopped the show for 45 minutes. He was said to have had an "electric" personality, along with the ability to make each member of the audience believe that he was singing only to them. However, he is best known today for his appearance in one of the first "talkies" The Jazz Singer, the first feature film with sound to enjoy wide commercial success, in 1927. In The Jazz Singer Jolson performed the song "Mammy" in blackface. In truth, Jolson's singing was never jazz, indeed his style remained forever rooted in the vaudeville stage at the turn of 20th century.

Jolson is the first music artist to sell over 10 million records. While no official Billboard magazine chart existed during Jolson's career, their staff archivist Joel Whitburn used a variety of sources such as Talking Machine World's list of top-selling recordings, and Billboard's own sheet music and vaudeville charts to estimate the hits of 1890-1954. By his reckoning, Jolson had the equivalent of 23 No. 1 hits, the 4th-highest total ever, trailing only Bing Crosby, Paul Whiteman, and Guy Lombardo. Whitburn calculates that Jolson topped one chart or another for 114 weeks.

Among the many songs popularized by Jolson were "You Made Me Love You," "Rock-a-Bye Your Baby With A Dixie Melody," "Swanee" (songwriter George Gershwin's first success), "April Showers," "Toot, Toot, Tootsie, Goodbye," "California, Here I Come," "When the Red, Red Robin Comes Bob-Bob-Bobbin' Along," "Sonny Boy" and "Avalon."

Jolson was a political and economic conservative, supporting Calvin Coolidge for president of the United States in 1924 (with the ditty "Keep Cool with Coolidge") unlike most other Jews in the arts, who supported the losing Democratic candidate, John William Davis.

Jolson was married to actress/dancer Ruby Keeler from 1928 to 1940, when they divorced. The couple had adopted a son, Al Jolson Jr., during their marriage, but when he was 14 the boy changed his name to Peter Lowe after his mother's second husband, John Lowe.

After leaving the Broadway stage, Jolson starred on radio. The Al Jolson Show aired 1933-1939, 1942-1943, and 1947-1949, and these shows were typically rated in the top ten. Jolson continued performing until his death in 1950.

The Jolson story

After the success of Warner Bros. film Yankee Doodle Dandy about George M. Cohan, Hollywood columnist Sidney Skolsky believed that a smiliar film could be made about Al Jolson -- and he knew just where to pitch the project. Harry Cohn may have seemed to a lot of people in Hollywood like a crude, loud vulgarian, but he had one soft spot: he loved the music of Al Jolson.

Skolsky pitched the idea of an Al Jolson biopic and Cohn agreed to it. Directed by Alfred E. Green (best known today for the pre-Code masterpiece Baby Face, The Jolson Story is one of the most entertaining of the musical biopics of that era -- an era that included Yankee Doodle Dandy, Till the Clouds Roll By, Words and Music and Three Little Words. With Jolson providing almost all the vocals, and actor Larry Parks playing Jolson, The Jolson Story was released in 1946, and became one of the biggest hits of the year. Parks received an Academy Award nomination for Best Actor, and the film became one of the highest grossing films of the year.

"The Jolson Story," and its 1949 sequel "Jolson Sings Again," led to a whole new generation who became enthralled with Jolson's voice and charisma. Jolson, who had been a popular guest star on radio since its earliest days, now had his own show, hosting the "Kraft Music Hall" from 1947-1949, with Oscar Levant as a sardonic piano-playing sidekick. Despite such singers as Frank Sinatra, Bing Crosby, and Perry Como being in their primes, Jolson was voted the "Most Popular Male Vocalist" in 1948 by a Variety poll. 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 joked that he'd tried to sing the hit song. "I got the clippetys all right, but I can't clop like I used to."

Jolson's legacy is considered by many to be severely neglected today because of his use of stage blackface, at the time a theatrical convention used by many performers (both white and black), but today viewed by many as racially insensitive. Jolson was billed as "The World's Greatest Entertainer," which is how many of the greatest stars (including Bing Crosby, Frank Sinatra, Judy Garland, Elvis Presley, Mick Jagger, Rod Stewart, Jackie Wilson) referred to him. Charles Chaplin wrote in his Autobiography that he was one of the most electrifying entertainers he had ever seen. A life-long devotion to entertaining American servicemen (he first sang for servicemen of the Spanish-American War as a boy in Washington, D.C.) led Jolson, against the advice of his doctors, to entertain troops in Korea in 1950 when his heart began to fail.

Death

Jolson died on October 23, 1950, in San Francisco at a card game, at the age of 64, apparently of a heart attack, and was interred in the Hillside Memorial Park Cemetery in Culver City, California, where a statue of Jolson beckons visitors to his crypt. On the day he died, Broadway turned off its lights for 10 minutes in Jolson's honor.

Al Jolson has three stars on the Hollywood Walk of Fame:

1. For his contribution to the motion picture industry at 6622 Hollywood Blvd.;
2. For his contribution to the recording industry at 1716 Vine St.;
3. For his contribution to the radio industry at 6750 Hollywood Blvd.

Forty-four years after Jolson's death, the United States Postal Service acknowledged his contribution by issuing a postage stamp in his honor. 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. Al Jolson is one of Mr. Burns' (from The Simpsons) favorite actors - he still believes that he is alive.

Jolson's song I'm Sitting on Top of the World was played during the opening montage of 1930's New York City in the 2005 remake of King Kong.

In August of 2006, Al Jolson had a street in New York named after him.

Lullaby of Broadway
Al Jolson Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Come on along and listen to
The lullaby of Broadway
The hip hooray and ballyhoo
The lullaby of Broadway
The rumble of a subway train
The rattle of the taxis
The daffodil who entertain
At Angelo's and Maxi's

When a Broadway baby says good night
It's early in the morning
Manhattan babies don't sleep tight until the dawn

Good night, baby
Good night, milkman's on his way
Sleep tight, baby
Sleep tight, let's call it a day
Hey!

Come on along and you can listen to
A baby cry the lullaby of ole' Broadway
The jump and jivin' and the swingin' roo
The lullaby of Broadway
The band begins to jam a tune
And everyone goes crazy
You rock-a-bye your baby soon
The atmosphere gets hazy
Hush I'll buy you this and that,
You hear a daddy saying
And baby goes home to her flat
To sleep all day

Sleep tight, my baby
Get a lot of sleep as time goes by
Good night, my baby
Have a lot of fun in the night time
Get a lot of sleep in the day time
Good night, good night
Let's call it a day
Good night, good night, good night
Milkman's on his way

Good night, baby
Good night
Milkman's on his way
Sleep tight, baby

Sleep tight, let's call it a day
Listen to the lullaby of ol' Broadway

Overall Meaning

The lyrics to Al Jolson's song "Lullaby of Broadway" paint a vivid scene of the bustling city that never sleeps. The song implores the listener to "come on along and listen to the lullaby of Broadway," which includes the sounds of the subway train, the taxis, and the entertainment at Angelo's and Maxi's. However, despite the chaos outside, when a "Broadway baby" says good night, it's early in the morning and "Manhattan babies don't sleep tight until the dawn." The lullaby serves as a reminder that even in the midst of the noise and constant movement of the city, there is a time for rest and rejuvenation.

As the song progresses, the focus shifts to the nightlife of Broadway. The band begins to play, people start to dance, and the atmosphere gets "hazy." Parents assure their children that they'll "buy [them] this and that," and the babies eventually go home to "sleep all day." The song ends with a final reminder to "sleep tight" and "let's call it a day."

One interesting interpretation of the song is that it serves as a commentary on the societal pressures of the time period. The idea of a "Manhattan baby" not sleeping until dawn suggests that individuals must constantly be on the move and productive to keep up with the demands of city life. However, the lullaby provides a moment of respite and suggests that rest and self-care are necessary for survival.

Lullaby of BroadwayAl Jolson Lyrics

Lullaby of Broadway
Al Jolson Lyrics