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...spot with hair-colored paint. No problem, until half an hour into the post-Oscar party, by which time the star of the evening had absently patted his head a few times, then stroked his face. "My wife Kate rushed over," he recalls, "and said, 'You look like Al Jolson!' I was mortified. I was also relieved that I hadn't rubbed my head during the ceremony and, in front of God and a billion people, given my thanks in blackface...

Author: /time Magazine | Title: CINEMA: PETER PAN GROWS UP BUT CAN HE STILL FLY? | 5/19/1997 | See Source »

...West End with Andrew Lloyd Webber extravaganzas. The Royal National Theatre has just revived Richard Eyre's landmark 1982 production of Guys and Dolls, whose success inspired a string of British revivals of classic American musicals. Even so unfashionable, and quintessentially American, a pop figure as Al Jolson has gained new life on the West End: Jolson, a musical tribute to the 1920s star, has been running more than a year...

Author: /time Magazine | Title: THEATER: THE KINDNESS OF FOREIGNERS | 2/3/1997 | See Source »

...Regular bank customers who pay lower rates are no longer borrowing as much as they did. There's a reason: the better-risk customers are tapped out, having run up record levels of debt over the past couple of years in a spending boom. This anomaly, according to Joe Jolson, a leading analyst at Montgomery Securities, is "one of the best-kept secrets on Wall Street...

Author: /time Magazine | Title: SUB-PRIME TIME | 11/4/1996 | See Source »

...affecting hours!), incandescent stars (a ragged but potent revival of Ibsen's John Gabriel Borkman with Paul Scofield and Vanessa Redgrave), one thrilling biodrama (Pam Gems' Stanley, on English painter Stanley Spencer) and lots of musicals about dead pop singers (Buddy, Elvis and, for Pete's sake, Jolson...

Author: /time Magazine | Title: THEATER: THE BATTLE OF LONDON | 7/22/1996 | See Source »

Martin lasted so long by embracing show-biz contradictions, then shrugging them off. For a start, he was a traditional crooner who learned intonation from Crosby and salesmanship from Jolson. Yet there was a hint in his gestures (eyes closed in ecstasy, arms stretched out imploringly) that he was parodying the very idea of crooner; he was a mellow modernist. You could also peg Dino as an anachronism, a Joe E. Lewis saloon-lush type, the party animal in a tux. Or maybe he was the first slacker, elevating sloth to a Zen art. The stupefaction he radiated...

Author: /time Magazine | Title: CROONING TOWARD OBLIVION: DEAN MARTIN (1917-1995) | 1/8/1996 | See Source »

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