只有在美国：阿列克谢·乔斯林与《爵士歌王》[有声书]

English | ASIN: B0CBCWB8X9 | 2024 | 9 hours and 16 minutes | M4B@64 kbps | 268 MB

A probing biography of world-renowned Jewish singer and actor Al Jolson and the history of his performance in and the making of The Jazz Singer. Al Jolson, born Asa Yoelson, immigrated from a shtetl in Lithuania to the United States in 1894 after his father secured a job as a rabbi in Washington, D.C. A poor, Yiddish-speaking newcomer navigating a racially segregated and antisemitic America, young Jolson dreamed of becoming a star, and he did. Thanks to his immense talent and his knack for assimilating into new environments, by the time he reached his twenties he was the most famous and highly paid entertainer in America, making almost $5,000 a week at a time when the average American made $800 a year. Jolson’s public adoration and widespread acceptance as a star marked the beginning of an enriching cultural transformation, a moment when the American mind opened up to ethnic and racial differences, widening the gap of acceptability. And yet Jolson himself, despite being ferociously ambitious and gigantically talented, was crippled by insecurity, often nervous to the point of collapse, prisoner to his many vices. Through Jolson, Bernstein simultaneously breaks open the history and legacy of the cultural sensation The Jazz Singer. Not only was The Jazz Singer the first feature-length film with synchronized music and dialogue, but it was also taboo smashing in its content: The Jazz Singer is all about Jews, Orthodox and otherwise. Bernstein expounds on the making of The Jazz Singer, what the film meant then and now, introducing the many individuals involved in its production, including Samson Raphaelson, a young Jewish writer whose short story was the basis for the movie; the four Warner brothers, who made a fortune off it; and George Jessel, Jolson’s rival and the star of Raphaelson's stage adaptation of his short story. In the background emerges a picture of old Hollywood in the Roaring Twenties: cutthroat and greedy yet visionary and progressive. And while The Jazz Singer represented the future in many ways, it also dredged up the worst of the past, including Jolson’s use of blackface, common at the time. At once a tale of the Judaizing of American culture and an acknowledgment of the challenges to come, Only in America is a glistening examination of a man at the center of a watershed moment in the arts.

阿瑟·乔森，一个出身立陶宛犹太人村落的歌手和演员，被公认为是世界闻名的。他出生于美国后，由于父亲在华盛顿特区成为了一名拉比，乔森于1894年移民至美国。这个穷困潦倒、操着犹太语的新来者在美国一个种族隔离和反犹太人社会中求生。年轻时的乔森梦想成为一名明星，并且他也做到了。凭借他的超凡天赋和善于适应新环境的能力，到他二十多岁的时候，他已经成为了美国最知名也是薪水最高的娱乐明星之一，那时平均美国人一年只能挣800美元，而他每周的收入接近5,000美元。乔森获得公众的狂热崇拜并作为一个明星被广泛接受标志着一种富有成效的文化转型的开始，那是美国人的思想开放了对种族和民族的不同之处，并且扩大了可接受性的范围。然而尽管乔森自己是极其渴望成功并且极具才华的人，但他却被恐惧所困扰，常常因为过度紧张而近乎崩溃，他深受多种恶习的影响。 通过乔森，伯恩斯坦同时揭示了《爵士歌手》的文化现象的历史和遗产。不仅，《爵士歌手》是第一部配有同步音乐和对话的长电影，而且在内容上它也是触碰禁忌的：《爵士歌手》完全关乎犹太人，无论是正统派还是其他非正统派。伯恩斯坦阐述了《爵士歌手》的制作过程及其当时的含义以及现在所意味着的东西，并介绍了参与这部电影生产的许多人，包括一个年轻的犹太作家萨姆松·拉菲龙森，他的短篇故事成为了电影的基础；四个华纳兄弟，他们因这部影片而赚到了巨大的财富；和乔治·塞勒斯，乔森的竞争者同时也是拉菲龙森改编他那部短篇小说的舞台剧中的明星。背景中展现的是20年代的老好莱坞：贪婪又残忍但有远见和进步。尽管《爵士歌手》在许多方面代表了未来，但它也翻新了过去最糟糕的部分，包括乔森使用黑人妆容的情况，在那个时代这是常见现象。 它既是一个关于美国文化的犹太化的故事，也是一个承认即将到来的挑战的认可。《只有在美国》是对艺术领域一个关键时刻中人物的璀璨检视。

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