Word: jolson
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Dates: during 1970-1979
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...weekends, downtown Los Angeles' Broadway is a teeming mass of Hispanic shoppers. Record-store loudspeakers blare Mexican hits: Juro que Nunca Volveré (I Swear I'll Never Return), Mi Fracaso (My Downfall). The Orpheum Theater, where Al Jolson once sang in blackface, screens Spanish-language dubbings of anglo hits. An archipelago of taco and burrito carts dots the street. Stores and merchandise stands tout their wares: vestidos, tocadiscos, muebles (clothing, phonographs, furniture). Farther east, on Whittier Boulevard, young Hispanics express themselves with a unique form of Saturday night fever known as "low riding"-cruising in ornately decorated...
...coaster of merriment, with hairpin turns of plot, zany swoops of emotion and a breakneck tempo. But for fanciers of substance in entertainment, soap bubbles would be solider. Kaufman and Hart twisted their comic vise on Hollywood at just the time the movie colony was panicking over emergent speech. Jolson had sung; could Shakespeare be far behind? In panic, Hollywood raided Broadway for its voices...
...Jolson slam dunks kept Harvard down at 61-53, but Hooft suddenly came alive with 19 second-half tallies as the Crimson crept back to within two, 65-63. It was only the shade of Dartmouth, with two full-court Eli passes breaking the game open again, and the Crimson fell to 10-15, while Yale upped their Ivy slate to 3-10, and 8-15 overall...
...effect was just what the Crosby sound needed. In earlier work he sang with much jazzier effects. An artist in search of a personal style, he listened hard to Al Jolson, Mildred Bailey and Louis Armstrong. Finally Bing developed that mellifluous tone, a mere phrase of which causes millions of Americans to imagine the gold of the day meeting the blue of the night. Here was the voice that has sold more records than any other on earth save that of Elvis...
Conceived by white men in the mid-1800s, minstrel shows evolved a format as rigid as a TV sitcom: performers, usually white, put on blackface makeup and offered up cakewalks, "coon songs" and darky-dialect jokes. Blackface survived until Al Jolson's mammy routines in the early 1900s, as proof that nobody found them offensive -nobody except black entertainers whose talents were suffocated by parody and caricature. Minstrel Man (CBS, Wednesday, March 2, 9 p.m. E.S.T.) provides a rare view of minstrelsy through the eyes of those victims...