Al Jolson (born Asa Yoelson; c. 26 May 1886 [Old Style] / 9 June 1886 [New Style] – 23 October 1950) was an American singer, comedian, actor, and vaudevillian. He was among the most prominent and highest-paid entertainers in the United States during the 1910s and 1920s, and was known for his emotive and theatrical performance style, which contributed to the popularisation of many songs he performed. His influence on early 20th-century musical theatre has been noted by historians and critics, with some identifying his style as a significant factor in the development of the modern musical. Jolson was also closely associated with blackface performance, a practice widely used in American entertainment at the time and later subject to critical reassessment. Jolson is best remembered as the star of "The Jazz Singer" (1927), regarded as the first feature-length motion picture with synchronised dialogue sequences. He also appeared in a number of successful musical films during the 1930s. Following the attack on Pearl Harbor in 1941, he became one of the first entertainers to perform for United States troops overseas during the Second World War. After a period of reduced activity, his career experienced a revival with "The Jolson Story" (1946), in which Larry Parks portrayed him, with Jolson providing the singing voice. A sequel, "Jolson Sings Again" (1949), followed a similar format. In 1950, he performed for United States forces during the Korean War, giving 42 shows in 16 days. He died shortly after returning to the United States, with reports attributing his death in part to physical exhaustion. He was posthumously awarded the Medal for Merit by Secretary of Defense George Marshall. Jolson’s singing style incorporated elements of African American musical traditions, which he helped introduce to wider audiences, particularly among White Americans. At the same time, his performances often reflected racial stereotypes associated with blackface minstrelsy. His legacy has been described as complex, reflecting both his role in popularising aspects of African American music and the controversies surrounding his use of blackface. Contemporary scholarship has also noted that Jolson spoke out against discrimination on Broadway during his career, and his work received attention in African American publications of the period.