In 1927, Al Jolson's "The King of Jazz" became famous. Although it only had two lines, it became the first sound film. In the film, he played the son of a Jewish rabbi. His father asked him to honor his father's mantle as a preacher. However, he was deeply obsessed with jazz music, those indulgent soul swaying tunes, those funny but harmonious beats, planted the seeds of music in his heart. He was driven out of his home by his father, and he was away from home for more than ten years in San Francisco. , Finally became famous, but at this moment, the father is critically ill. His only last wish is to hope that his son will return home and see him become a respected wise man in his lifetime and a believer who sings Jewish hymns on stage. The rabbi who preached and taught his profession, but AL’s most important performance opportunity was coming. He made his first appearance on Broadway. He finally gave up the performance and went home to see his father. He sang for his father in the holy candlelight of the synagogue. His father was in tears of happiness. There is no regret when I close my eyes and let go. . . . . . The kind mother told her child with a silent smile, to pursue her dream. . . . .
A few years later, AL became the famous jazz king. In the United States in the 1820s, jazz was black music. The rhythmic movement engraved in the bones of blood flows in the United States. No one can accept white jazz, how can AL break the taboo and conquer the audience? At the end of the film, AL was preparing to take the stage again. The audience cheered and hovered with long-lasting applause. He was calm as usual. In the dressing room, he covered his cheeks and arms with ink. This is the photo on the cover. It turns out that his voice is sexy and charming. Kauki is as pure as a fire surpassing all black jazz singers, just to be accepted by the musical background of that era, he has been acting as a black man. No one knows the secret of his helpless cunning. Thousands of audiences are fascinated by his black humor. . . . . . . . . .
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