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SUBJECT: FRANK SINATRA
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The Complete Life of -I - I ,',__{';r".
"5
1 RANK
Produced by THURSTON MOORE -If.
:-~ W1192 _ . n.
.,r|s°,_
Copyright 1955
by Pocket Magnsina, Inc.
Editorial Oces .1,
Y-1140 Broadway -
New York 1, N.
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Scrapbook No. 1{I.92._ .
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_TABLE or coNrENisl
me SINATRA sronv 1 ' 7
CAPITOL RECORDS 34
FROM HERE TO ETERNITY 46
SUDDENLY 54YOUNG AT HEART A sq
NOT As A STRANGER _sa
MY DATE wm-| FRANKIE as
NOTES T
66-,
_
STARS PICTURED IN THE FRANK SINATRA
POCKET SCRAPBOOK:
Les Brown, Tommy Dorsey, Jimmie Durante,Garry Moore, Doris Day, Nat Cole, RosemaryClooney, June Christy, George Murphy, Alan Ladcl,Jules Munshin, Gene Kelly, Ava Gardner, RedButtons, Milton Berle, Dave Garroway, MerleTravis, Donna Reed, Nancy Qates, Kim Charney,Robert Mitchum, Olivia de Havilland, Lee M 'arvm,Broderick Crawford, Ethel Barrymore, Lauren
Bacall.
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FRANK SINATRA ,
Francis Albert Sinatra was acclaimed by Down
Beat last year as the singer of the yearthe rst
time such an accolade had been given him since
1947. The intervening years saw the plaudits and
honors-and the moneygo to younger and rela-
tively lesser~known young men who sing popular
songs for radio, TV and the giant recording indus-
try. And hereby hangs a tale. "
Until quite recently, it was getting. to be a habit-
to refer to some of the oldtimers in the warbling
business as You know, people like Vallee, Cros-
by and Sinatra." Of course, Bing is still around,
still making with the. pipes in a variety of odd
chores in the entertainment world. But his work is
accepted and enjoyed, frankly, with a touch of nos-
talgia. He is the old master, admittedly great, but
no longer the object of mass adulation and the
toter-home of honorary gold recordsthose sym-
bols of fabulous discs which sell over a million cop-
ies. And of course, the Connecticut Yankee, al-
though an energetic and competent dabbler in other
branches of the arts, no longer keeps ecstatic wo-
men glued to the loudspeakers as he did a quarter
of a century ago. The days of the neatly-parted
curly locks and the megaphone are gone forever.
The thing that puts Frank Sinatra in a class by
himself these days is that almost unheard-of accom-
plishmenta true comeback. Not in the sense that
Frankie has recaptured those early war days when
7
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hislsliglit gure before a microphone touched 01 some of the world's strangest manifestationsnlass feminine psychology. Those days, too, argone forever. But what Frankie has don 'com f ' 'o
1
e ls to be e, or the second time in his
career, the hottes thing in show business.
UMETOWN: HUBUKEN
Francis Albert Sinatra was born in1917 in Hoboken, New Jersey. An onlychild of Anthony and Natalie Sinatra,who came to America from their na-tive Italy, little Frankie spent his busyand combative childhood in the townof his birth. Although his success inthe highly competitive world of showbusiness has always been a source ofgreat pride for his parents, it was notthe career they had planned for theironly son. It was their dream thatyoung Sinatra would grow up to be-come a famous civil engineer. Per-haps the world has missed a beautifulbridge or two without engineer Sin-atra, but it could have missed muchmore-the intimate pleasure evokedby a romantic tenor in untold mil-lions of fans.Singing was not a life-long ambitionfor Frankie. Although he belonged to
Frunk Sinulru oi fhl
e oge of three Wl|l'l tails, top hot and all.
l4the Glee Club of Demarest High
School, and engaged in a protable
musical sideline as a student, his real,
down-to-earth ambition was to become
a newspaper man. He got a job, after
school hours, working on the delivery
truck of the Hudson Observer. He
liked the newspaper business so much
that he later quit school and went to
work full-time as a copy boy. Intelli-
gent, ambitious and energetic, the
copy job was soon left behind when
he took over as sports reporter.
While in high school, Frank won trophies for
swimming, basketball and track. He considers histriumphs as a swimmer as especially important to
the formation of his character. As a child he dis-
covered that he could go in the ocean without ex-
periencing a choking terror.
His favorite exercise, though, is boxing. Boxing
came naturally for him, probably because of a fam-ily tradition. His father, whose profession was re-ghting, was an outstanding boxer under the nameof Marty O'Brien, and his uncle was the well-knownBabe Segar. A lot of people have been fooled bySinatra's skinny frame. But his body is 125 poundsof hard, coordinated muscle that can move in light-ning-like motions with a lot of the old one-twopunch behind it. Frank has retained his avid inter-est in sports, and today is one of the best-informedfans of the baseball world. And he also makes amost creditable showing on the bowling alleys.In high school Frankie also collected pop orches-tral arrangements, which he rented to local bandsand high school combos. The fee was modest, but
the contractural arrangements included the serv-ices of one Frank Sinatra as the featured vocalist
at another modest fee. Later he expanded and
purchased a public address system, which was
rented along with arrangements and his servicesas a singer. Then he collected three fees!
F2
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THE HIIBIIKEN FIJUR
In 1936, Frank went to a movie that featured
Bing Crosby, and that night he decided to become
a singer. It looked easy, it sounded like a lot of fun,
and the well-dressed, well-fed Crosby apparently
commanded a good salary. This was for Sinatra.
With typical Sinatra thoroughness, organization
and planning, young Frankie mapped out his strat-
egy. First, he formed a group known as the Ho-
boken Four. They picked up the necessary experi-
ence, and some small change, by singing for private
parties.
In those days, one of the most popular radio
programs was the famous Amateur Hour presided
over by Major Bowes. Although the thousands of
unknowns who appeared before the Ma jors micro-
phones are, by and large, still unknown, a few of
his amateur performers went on to success as pro-
fessionals. It was the logical and most convenient
way to break into show business in the depression
years.
When the Hoboken Four appeared on the Hour,
Frankie sang Night and Day and was applauded
Lnto rst prize. The prize included a cross-country
tour with one of the Majors many traveling units.
It, provided wonderful experience for the young
troubador, but before many months had passed, he
got terribly homesick for his native Hoboken, quit
the troupe, and returned home.
I2
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As part of his preparation for a singing career
Frankie also appeared on local radio programs over
stations in Jersey City, Newark and in New York.
Not only was he impatient for the accolades of
success, but he wanted to marry his sweetheart,
Nancy, who became Mrs. Sinatra in 1939. So, for
stability and some measure of security, he went
to work at the Rustic Cabin, as a singing waiter,
for the steady salary of $25.00 a week. Thus in
1938, at the age of 21, Frank Sinatra settled down.
Five years later, he was earning $25,000 a week!
Those were the lean years for Sinatra. He had
married Nancy and he remembers especially one
evening when Nancy had a yen for a ham sand-
wich and a piece of apple pie. That happened on
a night when Frankie didn't have a penny in his
p0cket-a week before the birth of their rst baby.
So Frank went up and down the hallways of the
1
Frank Sinatra with
Nancy, his childhood
sweetheart who became
lhe rst Mrs. Sinatra,
and bandleader Les
Brown.
apartment house where they lived and collected
all the discarded empty pop bottles he could nd.
The turn-in money bought his wife her sandwich
and pie.
Not long after that an important occurrence
took place in the life of Singer Sinatra. Frank, a
voracious reader, has always had a great belief inFate he cites a John Galsworthy theme~that
one accidental, unplanned move can completelychange a mans life!. This is what happened. Mon-
day night was his usual o-night from the Rustic
Cabin, but one week the girl singer asked him, asa special favor, to take Tuesday off. So Frankie
sang on Monday nightthe night band leaderHarry James walked into the place, heard Sinatraand immediately signed him up for $75.00 a week,three times his current salary!
DURSEY AND I
That was the rst boost up the ladder to success.It wasnt long before the next one came. The Jamesband was playing in Los Angeles, and TommyDorsey heard the new singer, liked him and imme-diately offered him $150.00 a week-double his
salary. Harry James advised Frankie to take theo'er, because the Dorsey outt could offer him
more opportunities. At rst, Frank appeared as
I4one of the Pied Pipers vocal group, and later was
given a featured soloist's spot. Some of the old
Dorsey records, with vocals by Frank Sinatra, are
now collector's items.
The war came along and Frank, although of
draft age, was automatically classied as 4-F be-cause of a punctured ear drum. He was going
great guns with Dorsey, his name appeared moreoften in the columns of the entertainment papers,
and the crowds that showed up for their personal
appearances were displaying more and more en-thusiasm for the slight young vocalist. In 1942Sinatra started out on his own. He had a CBS
radio show called Songs by Sinatra.
Frankie cuing up with Jimmie Durante the nose! and Garry
Moore the hair cut!.
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mun an PARADE
In I943 Frank Sinatra become the featured singer on the networkshow Your Hif Parade which features lhe lop fen songs of theweek. Here we see Frankie at rehearsal for the Suiurduy nightshow with tolenled singer, Doris Day. Below, musicui director AxelStordohl folks with the young singers.
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SWAMI UF SWUIJN
There followed a four-year period in whichAmerica was the scene of the greatest demonstra-tions of fan idolatry the world had ever seen. Be-fore a hushed throng of young girls, plus the in-evitable newspaper reporters out for good copy,Frankie took his microphone and sang the pop-ular ballads of the day . . . with a liquid tonal
quality, phrased uniquely, with rapid shifts oftension and dramatic pauses, all to the accompani-ment of teen-age voices trilling, Ooooh, Frankie," Oh, Frankie Boy! and Sing to ME, Frankie. On good authority, a sizeable number of his audi-ence fainted. Learned articles appeared in schol-arly journals. Columnists turned aside from analyz-ing the war to spend considerable time and thoughton the sociological implications of this new phe-nomenon. The wits had a lovely time of it, andthe radio comedians counted their success by thenumber of Sinatra jokes their writers came upwith. The obvious parallel was drawn: not sincethe days of Rudolph Valentino-not even in thefabulous era of crooners Bing Crosby and RudyVallee--had the country witnessed such massiveand explicit adoration for an entertainment gure.A born showman with a lot of talent after sev-eral years of experience had hit his stride as anentertainer. Here was a consciously informal youngman who, with excellent control of his exceedinglypleasant voice, had worked out an individual pat-Q
Sinolru runs through 0 number, accompanied by one of the greats
in show business, Not "King" Cole.
tern for presenting a song. He chose the best songs
to singand soon commanded the best fees, be-
cause he commanded the biggest audience.
One night Robert Weitman, Manager of the Para-
mount Theatre, journeyed over to Newark, New
Jersey, to investigate rst hand a report that teen-
agers were shouting and fainting over the intimatevocalism of a newcomer. Weitman was impressed,and Frankielwas signed for a four-week run on thesame bill with Benny Goodman. It was a sell-out,
month at the Paramount. A short time later, Sin-
atra went back to the Paramount at $7500.00 a
week . . . three hundred times his salary a shortsix years before! And that was only the beginning.
. I9
During some of the war years Sinatra grossed
well over a million dollars. His Columbia records
were consistently best sellers. He appeared as guest
artist at symphony concerts. He appeared in a
series of money-making motion picturesand sur-
prised everyone by demonstrating an ability todance and a air for comedy.
Back in 1943, at the height of the bobby-soxers
Sinatra craze, Newsweek magazine had rhetor-
ically asked, Will the Voice fade out as a short-
lived phenomenon, or will it settle down as a na-
tional institution? Throughout the war years, it
looked as if the answer were a National Institu-
tion. In 1945 Sinatra was still where he had been
since l942»at the top.
Leif, songstress Rosemary Clooney guests with Frunkie on his CB5
show, Meet Frank Sinatra. Below, he chols cheerily with June
Christy during Metronome All-Star Bond disc session. Sinolro wor-
bled Sweet Lorraine with the All-Stors.
. *
Above, u scene from RKO's Steplively, in which the bobbysox
idol appeared with George Mur-
phy. Right, Frankie gets realbrave and he sticks up of all
people - tough guy Alan Laclcl.
22
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Gene Kelly, Frank Sinatra and
Jules Munshin visit New York
in MGM's 0nl'l're Town. Above,
they do ct scene in the famed
Rockefeller Plaza. Right, Frankhaving fun.0Fl'-stage.
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lTHE |N!BETWEENl vans
1946 came and with it the apparent
good fortunes of Frank Sinatra came
to a screeching halt. The suddenness
of his fall from the heights of popular
success was much faster than his rise
to the top of the heap. A lot of people
discovered simultaneously that Frank
Sinatra was washed up. In the thou-
sands of music shops that used to sell
Sinatras" like hot cakes, his records
collected nothing but dust and the un-
complimentary remarks of the store
managers . . . Suddenly there were no
more club dates. About the only work
Sinatra got in the clubs was of a pugi-
listic nature, if you believed the gos-
sip columnists. And Metro Goldwyn
Mayer apparently thought they had a
has-been on their hands. The studio
failed to take up the option on his
contract.
In the next six years, the only thing that still
came Sinatras way was publicity. He got plenty
of that. It was not the carefully planned, informa-
tive handouts of paid publicists. It was not part of
a carefully arranged build-up to sell records, or
movies, or personal appearances. It was unsched-
uled, o-the-cuff news reporting-and the reporters
had a eld day. Here was a name that almost
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ll .- 1everybody recognized, and its owner was appar-ently doing things that the public had been ledto believe he never could.His marriage to his school-days sweetheart,Nancy, hit the rocks. He was beset with the moneytroubles that could be expected when a regularincome of a million dollars annually dries up atthe source. It wasn't that Sinatra was broke. Ap-parently his sense of organization, efciency andplanning took care of much of his money, andthere is no evidence that Frank was entirely with-out funds during this period. However, there werescal difficulties aplenty. Then for a headline-lledtwo years he followed Ava Gardner across severalcontinents. They made it to the altar in 1951. Atlast reports a divorce is in the works, although asof now they are just separated. New headlines nowreveal what seems to be a Sinatra-Gloria Vander-bilt romance in the making.Of course, Sinatra was the target for every pot-shotting reporter in the business. He remainedgood copy. Some of the publicity was not good.According to Sinatra, some of it was downrightuntrue, and he took personal steps to correct mis-taken impressions when the occasion permitted . . .much to the sorr w and abused muscles of severalmembers of the fourth estate. All this didnt helphis career~what little there was left of it. A Tele-vision show over CBS was dropped in 1951. Itbegan to look as if The Voice was a thing of the
Frank Sinatra and Ava Gardner o
on one of their many trips abroad.
27
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past. After all, the Ooooh, Frankie fans were
grown up now. No longer long-haired, saddle
oxforded school kids, they were now wives and
mothers. They deplored the hullabaloo raging like
a tempest of bad publicity around their erstwhile
her0s head. But they didn't buy his records. Andthey didnt come to his defense in well-organized
droves from current fan clubs. There were a few
-exceptions, but they only proved the rule. _ e
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4:.|lE.T|lRN ;0F THE VOICE.
Then quite suddenly in 1953, there it was again- a rst-magnitude star in the show businessheavens, shining brilliantly and steadily, renewingthe magic name of Sinatra.But it only seemed to be a su_dclen appearance.It wasn't the emergence of a has-been from thedepths of oblivion. It just seemed that to the public.Actually it was the result of work, concentration,and an unbounded faith in his own abilities at atime when the world believed Sinatra incapable ofholding his own, much less scaling new heights.And although the turning point appeared to be themovie called From Here To Eternity, it was not themovie alone that suddenly wiped the dust fromrecord jackets labeled Sinatra. The movie was im-portant, for many reasons, to the career of FrankSinatra but before we talk about that, lets back-track a little and see what The Voice was doing in1952, a full year before he won the coveted Oscarfor acting.
P
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UHUWN PRINCE UF SUNS
' In 1952, Frank completed 12 years with ColumbiaRecords. Back in the early forties, when he wasknown as the Crown Prince of Song, Sinatra sangwith the best orchestras in the business. His musicwas written by the nest composers. And his lyrics which received such individualized treatmentfrom the young singer! were penned by writerswhose namesappear again and again on the socalled standards of popular music.-_ Frank himself says, I was weaned on the bestpop music ever written -- Mercer, Berlin, Ham-merstein; and it was played by bands like Dorseyand James."Toward the end of his twelve years with Co-llimbia, the industry was in a gimmick phase._ E .very record had to be built around a cute sound,odd switch At least one yell, scream, cry, sob,
pressing Admittedly, some of the eo le
contortions. But it wasnt the sort of thing
voice He was the singer who gave personalto every phrase he uttered, uni-ords and music in an intimate
matter l contract, of-
were
._._~.__.-.»-- -or grunt was considered necessary to every .
- P P.. _making money from these electronic and
Swami of Swooncould do best. His was the rot-H
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nal choice of songs was up to the company.Frankie remembers that on one side he barked likea dog. He didn't like the idea, he didn't want to doit. But he was in show business, this was a businessdeal, so he barked like a dog.Then one day C0lumbias Mitch Miller said, Tomorrow, Frankie, well do one with a ,wash- board.
Sinatra's snappy rejoinder was, Youre kid- ding!"Miller, it seems, was denitely not kidding. Andthat was the beginning of the end. Sinatra refusedto accompany a wash board and allow them to labelit music. There was, he felt, littlelfiiture in suchshenanigans. _ ., Sure, theres a fast buck in the echo chambers, he said, referring to the craze for gimmicks. "Butit cant last. Apparently the Old Master knewwhat he was talking about. " 'pg.".
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In 1952 Frank signed with Capitol Records.Among his rst efforts for his new label
was Young At Heart, which became his rst gold record C 1 .or apitol - meaning that it was purchased byr more than a million people A million adds u t. p 0 a lot of gold in anybody's language. Then his rstCa itol lbp a um, Songs for Young Lovers, sold 150,000" .C0plES in the rst ve months» Planning for this album began in th f lle a of 1953. »With his Capitol producer, Voyle Gilmore, Sinatra .b 1. d . . .eieve it should contain the kind of musicalmusic -- melodic, rhythmic, romantic - that f lko s hadn't heard around for quite some time. Frank sug-
Hqro is-Frank Sinatra at his rst recording session for Co I J _ _ _ I p'lol Axel Storduhl conduction
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chats with Voyie Gilmore. On the left are Axel Stordohl and AllenLivingston.
gested that what was once again good in nightclubs,when he appeared in person would r b b, p o a ly be good on records as well. This simple and reasonable92thou ht 'g was entirely novel to the recording busi~"ness in 1953. It was then considered judicious tobeef up both orchestra and vocalist.Gilmore agreed to visit a club in Las Vegas where -1 Sin t 'a ra was appearing successfully. There he heard ll.for himself what Frank was talking about -'- ands"was sold. He agreed that the smooth, uncluttered?instrumentation of four string, four rhythm andtwo woodwinds - was ideally suited to pro" t thiec e.i-.- rnood they wanted for an album f 'o romantic songs ;- It was agreed that the arrangements permitted,_t_hel;_'_;desired egcible framework in which Sinatra coliltlj build his own distinctive lIIiI¬l pI¬!t&tl0I1S.Th6,iIn'§§"-
portant thing was to ca tp ure the same intimat_e'i"'.i-~ TIIOOC1 that F k ' ' 'ran easily achieved when he appeared" L . . in person on a night club oor. - - ' '"~ -l'. .1; 1
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of,the utmost importance to Sinatra. _sh -'2_I__T1j1ei_songs were recorded in two sessions, Nelson--gr-. 1": -jtiddle conducting The album was relr.
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it i The songs they picked were good ones - tried,true and familiar -- but had not been done to the_"death byevery other entertainer. Songs to which"if-Frank could more easily lend his special phrasing,theyalso possessed, in their own right, a highdegree of musical merit - a factor largely over-looked inrecent years, but one which has always
,_ _ g- eased in the spring and - no surprise to Mr. Sinatra - wasii,-;'§'-.4."1_§1_;g$:nedjate:'__hit. -It is still one of the best-selling =__§1b.,l: . §fji{!_the_;country, and it was more than a "suc- ifi-_:»-*i-;.i-. ~;- "" T i - 1- '-~~ J *1 ' '-'J".7¢'.-92 r:-Jqil , . I " - - . '*" ' I;{ ff; _';f.;_?_>-v_-:i- .7 L it} = ' t ' ' .- izfxt Ii? ~._?ft-£;{::&;;1- ..-;'._F:i -M-;__y_-_,-_____-_ ,_ _- 2' J. _E.,f,5,92._-.r_;;:§,.5g_,§=:,§;-gig; ._.-Q».-..5;;.-?_ I-i;-EH, Z'V.',_._,"_--3 L _ ":1 -_. -:;a*:.=~:.-1.-gr.-;='¢-.=1#-.~:?; -*$- .- - ;.#';~_,-,1'=§Q's,;_>75_I,ii;;»L._;=..",_ ; -'-._-;,- ~.i,|.1'~,.'»"».-- ii
-Jlldvh-...-.-emu uapiuins |u|I whet he WOHIS lhe music to convey to Gilmore"end conductor Nelson Riddle at u recent session for Cepilol.
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,_-rcessful commercial enterprise. It was a vindicationof Sinatra's basic good taste and often-expressed
belief that popular music is still music, and mustbe treated with respectful consideration of rhythm,
melody and phrasing.
It wasnt long after Songs For Young Lovers wasreleased that Capitol, naturally, began" thinkingabout a new Sinatra album. Branch managers,
salesmen and dealers reported that Sinatra fans hadre-appeared in sizeable droves and were makingfrequent requests for more recordings. In fact, theywere demanding another Sinatra album just likethe rst one." However, Sinatras Capitol advisersfelt that a sequel would probably enjoy about the
same success as the rst one and they wanted to
top the rst album in sales.
They met with Sinatra and asked his opinion.Several ideas were discussed and discarded. Theyagreed that the second album should be a contrast.The answer, then, seemed to be a more rhythmictreatment of the songs. The next question was,"How will they be orchestrated? Since Sinatra.had proved, with the rst album, that he knew whathe was talk g about when it came to instruments-_tion, they dlgferred to his opinion. Frank has longbeen a fan of the Red Norvo-Mildred Bailey bandof the late 1930s. They played over some of the old
seemed a little dated for modern consumption, thef 1;,mood of polite swing which the old band -pu.rveyed"""'was exactly what Sinatra had in mind. ~ ._ -e Q.-ff -;._, = ' Nelson Riddle was again called in and_ he workedf ii?
an arrangement that called f0r~.5 reeds,=i-élgffli
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rhythm, 1 trumpet, 3 trombones, and vibes. It wastested and discovered that this instrumentation pro-- vided the desired swing, but was not so obtrusiveas to detract from the featured lyrics.The tunes for the second album were chosen bya" process of elimination, Sinatra making the nalchoice on the basis of what he thought his fanswould most enjoy. As in the rst album, the songshad to stand the test of musical merit. They hadto be songs which had not been overdone and pos-sess lyrics suited to the special Sinatra treatment.Nelson Riddle was assigned the task of making thenal arrangement and conducting, and the record-ing sessions were held in April of 1954. When thealbum was released it immediately jumped into thebest-seller lists.
' Shortly thereafter, Sinatra appeared in a guestspot in a television Spectacular. The rest of theshow was produced in New York, but Sinatra'sportion came out of Hollywood. For almost halfan hour, working with very simple sets, and work-ing on camera alone, Sinatra sang Songs For YoungLovers and held the audience enthralled. The re-views for weeks discussed th bs ip t e marvelous sense of timing, the artistry and "-sincerity of the new Frank Sinatra. In a sense,..it-was a new Sinatra _ more mature, with a sure: ll 'grasp of the technique of holding an audience ,withI'_ ia change of pace. But in many ways, it was only the *Sinatra magic working once again. He was sin "H
sing, in an atmosphere of
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_" We have told you about the rst two CapitolAlbums because they illustrate the meticulous at-tention to detail and rigid insistence on qualitywhich Sinatra demands and are one of the prin-cipal reasons for their success. Sinatra is a goodshowman. And contrary to popular ideas, showmenare not just born. They are born with some degreeof talent and a natural propensity to perform, that'strue. But to achieve the heights, there must also belong periods of hard work and training, practical,down-to-earth experience, and that spark of some-thing that produces above-human energy, super-human faith, tremendous courage. Of all these,faith in onels own ability is the most distinguishing.'"*.These qualities Sinatra has demonstrated. Perhapsthe fall of Frank Sinatra was in large measure the
Sinatra holds pre production music conference on set of Young atwith Gordon Douglas and Ray Helndorf Bill Muller occomSinatra an the BB Frankie recorded several numbers fromWarner lm for Capital
-Ill1'!V _-2703-~'You.ng At Heart . . . Take a Chance -I Love You . . . South of the Border ,_.__ _____,___________ _____
inevitable result of failures on other peoples parts.Perhaps he was owned by too many people with toomany varied ideas. They talked instead of listening.It was not that Sinatra failed in his own powers asan entertainer, but that they tried to mold an artistinto forms and shapes that distorted his essentialvalue as a performer, his own distinctive individ-uality. Because when the opportunity arose -- andSinatra made his own opportunity - he provedthat his judgment was better than that of the spe-cialists and authorities. And he proved that his faithin his own ability, not the doubting rejections of hissuperiors, was true in another and more spectaculareld than singing. The story of his capabilities as aserious actor is becoming a legend in the world of_show business. It bears a brief repeat.
3818 Melody of Love. . .l m Gonna Live Till I Die S both with Ray Anthony!2993 You My Love . . . _Someone To Watch Over Me ~2954 The Christmas Waltz . . . White Christmas -2922 It Worries Me . . . When I Stop Loving You ,2864 . The Gal ThatxGot Away . . . Half As Lovely-'if'2816 . Three Coins i l. the Fountain . . . Rain L2787 I Could Have Told You . . . '- Dont Worry Bout Me .
From Here to Eternity . . . * -;' F"-F
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CAPITOL ALBUMS;
- 'u.un.--'4-v¢~.-_=~~1_-Jaw.-nu I--.j:~u-..f=1;.-92¢,>. nu"SONGS FOR YOUNG LOVERS 488
My Funny Valentine
They Can't Take That Away From Me
Foggy Day - I Get A Kick Out Of You - I
Girl Next Door Violets For Your Furs
Like Someone In Love Little Girl Blue
YOUNG AT HEART 510
Young At Heart From Here To Eternity -
I've Got the World On a String _
South of the Border
SWING EASY 528
Just One of Those Things Sunday
Pm Gonna Sit Right Down and Write Myself a
Letter Wrap Your Troubles in Dreams - I
Taking a Chance On Love -- Get Happy -
J eepers Creepers - All of Me
THREE COINS IN THE FOUNTAIN 542
'I'hree Coinsyln The Fountain
My One and Only Love - I Love You -- '
Don't Worry Bout Me
SINATRA SINGS SONGS FROM l
YOUNG AT HEART . 571
Young at Heart. Just One. of Those
Someone T_o_ Wateh Over Me 1- You My
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Sinatra with two veI'Y
good friends In SHOW
business, Red 'Buft0I'I$ Gd
Milton Berle The Cf-lPlT°l
disc was autographed bi
many celebrities who at
tended the puny in honor
of Sinatra.
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I
Sinatra is very happy,
receiving an award for
his wonderful perform-
ance in the motion pic- lure being presented by
Dave GarrowayUAPITUL HUNUBS SINATHA
Capitol Records threw a cock-
tail party for Frank Sinatra
in New York to celebrate the
record and picture, From Here
to Eternity. Frankie auto-
graphs the record Capitol had
made for the occasion.---_i__
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Sinatra is a voracious reader. He reads a wide
range of subject matter, he reads quickly but com-prehensively. When James Jones best-sellin g novelwas published, Frank read the powerful story ofpre-World War II soldiers and soldiering. Immedi-ately, he felt that Maggio was a close friend. Hisrst reaction was, I know the guy. Why, I went
to school with him! The tough little Italian-Amer
ican, violent, funny and sour, belligerent, combativeand sensitive . . . yes, it could have been FrancisAlbert Sinatra, lately of Hoboken, son of a re-
man who boxed, son of Italians.Even before the announcement was made thatHollywood would lm the dramatic story, Sinatrabegan a persistent campaign to bring himself, asa potential Maggio, to the attention of all possibleproducers. They either laughed at him, talked withfatherly rmness about the utter impossibility ofhis playing such a role, or dismissed the suggestion
as a not-too~funny joke.His personal promotion campaign paid off in theend. His consummate faith in himself was well re-
warded. When producer Buddy Adler began cast-ing, Frank heard about it, even though he was atthe time in Africa, where his wife was on locationfor a picture. At his own expense, he ew to Holly-wood, demanded a test for the part of Ma g gio and- then, without a word of promise, ew back to Africa. Everything was in the hands of his agents.T
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, rFrank asked that they keep in close touch with him
§b0-1t the PTOEFBSS Of the casting and let him know
lmmedlately when they wanted him to come to
work! The rst telegram that arrived Said his
chances for getting the part looked good. The
S@°° d one Sald they looked bad. The third one said
it was almost certain another actor had been as_
Signed. The fourth said the issue was in doubt Andthen the fth one, almost two months after the test
was made, arrived with the startling to everyone
but Sinatra! news that he had the partThe movie was a smash, an artistic and nangial
success. The nest artists, artisans and craftsmen
combined their talents to produce an outstanding
motion picture. lt would have been .3 good picture
without Sinatra, but his performance was so CodS0 fight, so effective, that it would be hargd td
imagine any other actor in the I'Q1e And when the -i
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~*'-H_. '_ -. _..__ ._._ _ Oscars were passed out at the Academy AwardDinner, one for the Best Supporting PerformanceBy An Actor was duly delivered into the hands ofFrank Sinatra, lately referred to as "a washed upcrooner."And so the wheel of fortune turned a full circle.Back from oblivion came the magic name of Sin-atra, back to occupy its old place of eminence inthe music world . . . and at the same time win newluster in the more demanding eld of serious acting- to win, for his rst performance, the top criticalaccolades of members of the movie profession.Quite a trip for the ex-sportswriter!Other movie producers were after him. He waspermitted the prerogatives of the proved actor ~he could choose his roles. After Eternity came Sun-denly, in which he was critically acclaimed for hisperformance. He made a wonderful musical withlovely Doris Day called Young At Heart, and NotAs A Stranger is scheduled for release later in 55.And now plans are under way for Sinatra to playthe famous Nathan Detroit in the movie version ofGuys and Dolls. No actor wants to be typed, al-though that is the fate of most of them in Holly-wood. Sinatra has proved that he is capable of a- wide range of roles, from romantic comedy to heavyY psychological tragedy, and with that proof inl evidence he has been able to select the roles hewants. --. D. The time is past when he can be asked to bark" like a dog or play opposite a washboard. Whena ,. 1
' ,.><is_neede_d_ of his ability and taste and judgment? .
..»'--- III: _92.*'
-;» ;1--manrises, falls, and rises again, what further proof ~ _4
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Frank Smatra SEHQS
Mer'le Travts, tamed coun
try music star, plays theM guntar Traws was one of
the soldters |n the rnotnanp|cture, ptayed and sang
The Re-Enlistment Blues
'--*'~"-'W~5~l-II-~ -L --an _rank Stnatra 111 one at the tense scenes from Columbua Fromto Eterrnty Spunky Maggua resents pushlng around ghtsFrank engoys the company of
Donna Reed 05 the set Donna
plays Alma m the bnlhant
story of soldterlng
4-H,
Sinatra m full eld dress for
t|'t0~|m. He underwent sev-erahtuugh weeks of regula-tion dritl and military training.
It '
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An-ni-Pvt Magguo |n a char
actor study after
day s shootmg m 1953§92
'92
MUN|___l M __'_h_ J _" _ __H:F_ _¬_f I N:
Frank a d Nancy
Gates, l'llS co star in
lha lm, 90 over the
scrnpt on United Ar
liils sci, Hollywood
92!
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Sinatra plays ct killer who
is paid half a million dollars
to kill the President of the
U.S. in United Ar1isl|' Sud-
denly. Here he has his hair
trimmed by barber Morey
Manclell while Nancy Gales
and Kim Charney watch.
YUUNB AT HEART
I
Sinatra stars opposite lovely
Doris Day in Warner Bros.
Young at Heart. Sinatra
plays the rale of Barney in
the lm, Cl singer and bril-
liant young composer. This
is Sinatra's rst picture for
Worners and he combines
bath singing and acting for'
this role.
NUT AS A S_TRAIii?Elt
"'--v"i , 92s h * Clt L
Frank Sinatra, Robert Mitchum and Olivia de Haviiland
above in a scene from Warner: Not As A Stronger. Si
Mitchum play medical students in this dramatic lm ofWutchmg an autopsy with mixed feelmgs are medical students
Lee Marvin Frank Sinatra and Robert Mttchumr ...w1.;§*.' I.
Broderick Crawford, Sinatra, Producer-Director Stanley Kramer
and Earl Kramer on the set at Not As A Stranger an the open
ing day of production party.
58
L "-_ -.._-J.._-__.__ __ __[IN THE SET WITH SINATBA
During ihe lming of Ynung Af Heart iauren Bacoil
visited Ethel Barrymore and Frank Sinatra
Left, an osmge chat over lea
with Robert Mitchum, Olivia de
Haviiland and Frank Sinatra.
Right, Frank exchanges iokes
with Franz Planer, famed pho-
tographer who is cameraman
pn No! As A Sfranger.
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rm» trim wnnin
Such questions do not bother the successful
Sinatra. He has a philosophy. Like him, it is
strai;fhtforward and direct.
The trick is, when you're clown, dont quit. A
ghters thought to live by - and above all else,
Sinatra is a ghter.
The Crown Prince of Song has grown up. He
looks better, sings better, performs better. If he is
not happy, he is at least content, with the deep sat-
isfying contentment that comes with knowledge of
doing a difcult job and doing it well. He works
hard, forties himself with seven doughnuts and
seven cups of coee each morning his lucky num-
ber is seven . . . all ghters are superstitious!. And
although he lives quietly, perhaps in loneliness, his
apt description of the present state of affairs is
phrased with happy cogency, Man, Im on top of
the world! Im buoyant!"
Time magazine, in its last issue in 1954, reported;"The imagazine Downbeat Everything in the
World about the World of Music! published its
annual reader's popularity poll last week, decided
that this was the year of Frank Sinatra. He won
the Downbeat vote as Americas favorite pop singer
for the rst time since 1947! and also as the top
male pop-record personality of the year. All this
. . . in addition to his prize-winning film perform-
ances and best-selling records and albums.
The Crown Prince of Song reigns again.
63
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