APORTE CULTURAL DE LOS JUDEOCRISTIANOS

The lives of most immigrants are a dialectic between the memories of the world left behind and the day-to-day struggles of learning the ropes of a new society. Mastering a new language, living and working among strangers, and coping with the unfamiliar are only some of the challenges faced by immigrants. It is no wonder that nostalgia has a strong grip on the cultural pursuits of immigrants. Immigrant communities generally find comfort in familiar religious traditions and rituals, seek out newspapers and literature from the homeland, and celebrate holidays and special occasions with traditional music, dance, cuisine, and leisure-time pursuits.

Yet not all immigrants look solely to the past to find meaning or to express their longings. Some immigrants, and their children in particular, are inspired by the possibility for innovative expression in American arts, culture, and pastimes. The partially fictionalized biography of the popular entertainer Al Jolson captures this experience. Jolson's story was expressed, somewhat embellished, in the 1946 Oscar-winning film The Jolson Story, and was foretold in the 1927 film The Jazz Singer, in which Jolson plays the lead role.1

Asa Yoelson, born in 1886 in Russia, immigrated to the United States as a child. He had a beautiful singing voice and was groomed to succeed his father as the cantor in a prominent synagogue. However, Asa was torn between family expectations and his desire to become a popular singer. After some hesitation, he left home to try his fortune as a singer in vaudeville and other venues. Within a few years, Asa Yoelson–who adopted the stage name Al Jolson–achieved fame as a popular singer and stage performer. During the 1920s and 1930s, he was the most highly paid entertainer in the country. The transition from Asa Yoelson, the dutiful son, to Al Jolson, famous entertainer, can be interpreted several ways. The Hollywood story of Jolson's life illustrates the popular belief that America is a land of opportunity for talented and hardworking immigrants: “Where else on earth could this sort of thing happen?” Another interpretation is the clash between immigrant generations–between the immigrant parents' belief in the obligation to maintain tradition and their Americanized children's desire for broader fulfillment. Although initially disowned by his father for leaving home and breaking with tradition, Asa/Al eventually reconciled with his family.

There is an even more important, and surprising, element to the Al Jolson story. How did an outsider, ethnically and culturally, become the cultural icon whose style set the standard for twentieth-century popular musical performance? Jolson climbed to the top of the ladder of the American entertainment industry by redefining the role and image of a public performer.2 He brought the expressionism and style of jazz to popular audiences, his singing connected with stage and film audiences through his dramatic emotional and physical performance, and he had stage runways built so that he could perform closer to the audience. The Jolson style did not represent assimilation, but rather the creation of a distinctive “American” genre of musical performance. Many iconic American popular singers of the twentieth century, including Bing Crosby, Tony Bennett, Judy Garland, Eddie Fisher, and Neil Diamond, report that Jolson's style was a formative influence on their careers.

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