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SUBJECT: FRANK SINATRA
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The Complete Life of -I - I ,',__{';r"."5
1 RANKProduced by THURSTON MOORE -If.�
:-~ W11�92 _ . n..,r|s°,_
Copyright 1955by Pocket Magnsina, Inc.
Editorial O�ces .1,
Y-1140 Broadway � -
New York 1, N.
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Scrapbook No. 1
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_TABLE or coNrENislme SINATRA sronv 1 ' 7CAPITOL RECORDS 34FROM HERE TO ETERNITY 46SUDDENLY 54YOUNG AT HEART A sqNOT As A STRANGER _saMY DATE wm-| FRANKIE asNOTES T
66-,_
STARS PICTURED IN THE FRANK SINATRAPOCKET 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, LaurenBacall.
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FRANK SINATRA ,
Francis Albert Sinatra was acclaimed by DownBeat last year as the singer of the year�the �rsttime such an accolade had been given him since1947. The intervening years saw the plaudits andhonors-and the money�go to younger and rela-tively lesser~known young men who sing popularsongs 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 warblingbusiness 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 oddchores in the entertainment world. But his work isaccepted and enjoyed, frankly, with a touch of nos-talgia. He is the old master, admittedly great, butno longer the object of mass adulation and thetoter-home of honorary gold records�those 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 otherbranches of the arts, no longer keeps ecstatic wo-men glued to the loudspeakers as he did a quarterof a century ago. The days of the neatly-partedcurly locks and the megaphone are gone forever.
The thing that puts Frank Sinatra in a class byhimself these days is that almost unheard-of accom-plishment�a true comeback. Not in the sense thatFrankie has recaptured those early war days when
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hislsliglit �gure before a m�icrophone touched 01some of the world's strangest manifestationsnlass feminine psychology. Those days, too, argone forever. But what Frankie has don 'com f ' '
o1
e ls to bee, or the second time in hiscareer, the hottesthing in show business.
UMETOWN: HUBUKENFrancis 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 that
young 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
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the Glee Club of Demarest HighSchool, and engaged in a pro�tablemusical sideline as a student, his real,down-to-earth ambition was to becomea newspaper man. He got a job, afterschool hours, working on the deliverytruck of the Hudson Observer. Heliked the newspaper business so muchthat he later quit school and went towork full-time as a copy boy. Intelli-gent, ambitious and energetic, thecopy job was soon left behind whenhe took over as sports reporter.
While in high school, Frank won trophies forswimming, basketball and track. He considers histriumphs as a swimmer as especially important tothe 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. Boxingcame 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, butthe contractural arrangements included the serv-ices of one Frank Sinatra as the featured vocalist�at another modest fee. Later he expanded andpurchased a public address system, which wasrented along with arrangements and his servicesas a singer. Then he collected three fees!
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THE HIIBIIKEN FIJUR
In 1936, Frank went to a movie that featuredBing Crosby, and that night he decided to becomea singer. It looked easy, it sounded like a lot of fun,and the well-dressed, well-fed Crosby apparentlycommanded a good salary. This was for Sinatra.With typical Sinatra thoroughness, organizationand 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 privateparties.
In those days, one of the most popular radioprograms was the famous Amateur Hour presidedover by Major Bowes. Although the thousands ofunknowns who appeared before the Ma jor�s micro-phones are, by and large, still unknown, a few ofhis amateur performers went on to success as pro-fessionals. It was the logical and most convenientway to break into show business in the depressionyears.
When the Hoboken Four appeared on the Hour,Frankie sang Night and Day and was applaudedLnto �rst prize. The prize included a cross-countrytour with one of the Major�s many traveling units.It, provided wonderful experience for the youngtroubador, but before many months had passed, hegot terribly homesick for his native Hoboken, quitthe troupe, and returned home.
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i',|illSTlli. UABINAs part of his preparation for a singing career
Frankie also appeared on local radio programs overstations in Jersey City, Newark and in New York.Not only was he impatient for the accolades ofsuccess, but he wanted to marry his sweetheart,Nancy, who became Mrs. Sinatra in 1939. So, forstability and some measure of security, he wentto work at the Rustic Cabin, as a singing waiter,for the steady salary of $25.00 a week. Thus in1938, 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 hadmarried Nancy and he remembers especially oneevening when Nancy had a yen for a ham sand-wich and a piece of apple pie. That happened ona night when Frankie didn't have a penny in hisp0cket�-a week before the birth of their �rst baby.So Frank went up and down the hallways of the
1
Frank Sinatra withNancy, his childhoodsweetheart who becamelhe �rst Mrs. Sinatra,and bandleader LesBrown.
apartment house where they lived and collectedall the discarded empty pop bottles he could �nd.The turn-in money bought his wife her sandwichand pie.
Not long after that an important occurrencetook place in the life of Singer Sinatra. Frank, avoracious reader, has always had a great belief inFate he cites a John Galsworthy theme�~thatone accidental, unplanned move can completelychange a man�s life!. This is what happened. Mon-day night was his usual o�-night from the RusticCabin, but one week the girl singer asked him, asa special favor, to take Tuesday off. So Frankiesang on Monday night�the 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 wasn�t 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 hissalary. Harry James advised Frankie to take theo�'er, because the Dorsey out�t could offer himmore opportunities. At �rst, Frank appeared asI4
one of the Pied Pipers vocal group, and later wasgiven a featured soloist's spot. Some of the oldDorsey records, with vocals by Frank Sinatra, arenow collector's items.
The war came along and Frank, although ofdraft age, was automatically classi�ed as 4-F be-cause of a punctured ear drum. He was goinggreat guns with Dorsey, his name appeared moreoften in the columns of the entertainment papers,and the crowds that showed up for their personalappearances were displaying more and more en-thusiasm for the slight young vocalist. In 1942Sinatra started out on his own. He had a CBSradio show called Songs by Sinatra.
Frankie cu�ing up with Jimmie Durante the nose! and GarryMoore 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 SWUIJNThere followed a four-year period in which
America 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 tonalquality, 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-
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Sinolru runs through 0 number, accompanied by one of the greatsin show business, Not "King" Cole.
tern for presenting a song. He chose the best songsto sing�and 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, NewJersey, 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 aweek . . . three hundred times his salary a shortsix years before! And that was only the beginning.
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During some of the war years Sinatra grossedwell over a million dollars. His Columbia recordswere consistently best sellers. He appeared as guestartist at symphony concerts. He appeared in aseries of money-making motion pictures�and 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, itlooked as if the answer were��a National Institu-tion.� In 1945 Sinatra was still where he had beensince l942»at the top.
Leif, songstress Rosemary Clooney guests with Frunkie on his CB5show, Meet Frank Sinatra. Below, he chols cheerily with JuneChristy 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 bobbysoxidol appeared with George Mur-phy. Right, Frankie gets realbrave and he sticks up � of allpeople -� tough guy Alan Laclcl.
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Gene Kelly, Frank Sinatra andJules Munshin visit New Yorkin MGM's 0n�l'l're Town. Above,they do ct scene in the famedRockefeller Plaza. Right, Frankhaving fun.0Fl'-stage.
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THE |N!BETWEENl vans1946 came and with it the apparent
good fortunes of Frank Sinatra cameto a screeching halt. The suddennessof his fall from the heights of popularsuccess was much faster than his riseto the top of the heap. A lot of peoplediscovered simultaneously that FrankSinatra was washed up. In the thou-sands of music shops that used to sell�Sinatras" like hot cakes, his recordscollected nothing but dust and the un-complimentary remarks of the storemanagers . . . Suddenly there were nomore club dates. About the only workSinatra got in the clubs was of a pugi-listic nature, if you believed the gos-sip columnists. And Metro GoldwynMayer apparently thought they had ahas-been on their hands. The studiofailed to take up the option on hiscontract.
In the next six years, the only thing that stillcame Sinatra�s way was publicity. He got plentyof that. It was not the carefully planned, informa-tive handouts of paid publicists. It was not part ofa carefully arranged build-up to sell records, ormovies, or personal appearances. It was unsched-uled, o��-the-cuff news reporting-�and the reportershad a �eld day. Here was a name that almost
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everybody 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, ef�ciency andplanning took care of much of his money, andthere is no evidence that Frank was entirely with-out funds during this period. However, there were�scal 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 didn�t 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 theFrank Sinatra and Ava Gardner o�on one of their many trips abroad.
27
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past. After all, the �Ooooh, Frankie� fans weregrown up now. No longer long-haired, saddle�oxforded school kids, they were now wives andmothers. They deplored the hullabaloo raging likea tempest of bad publicity around their erstwhileher0�s head. But they didn't buy his records. Andthey didn�t come to his defense in well-organizeddroves from current fan clubs. There were a few-exceptions, but they only proved the rule. _ e|_... .1 ~ _._L._._ _ _¢_s.._"l ;<l._ .._.."' J: ..1'.--�-92.a.|.}~- »/M '-~:--"��"�I|3l-92-�-- A
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.|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, let�s back-track a little and see what The Voice was doing in1952, a full year before he won the coveted Oscarfor acting.
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UHUWN PRINCE UF SUNS' In 1952, Frank completed 12 years with Columbia
Records. 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 treatment�from 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 wasn�t the sort of thingvoice He was the singer who gave personal
to every phrase he uttered, uni-ords and music in an intimatematter l contract, of-
were
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Swami of Swooncould do best. His was the rot-H�W .
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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 C0lumbia�s Mitch Miller said,�Tomorrow, Frankie, we�ll do one with a ,wash-board.�
Sinatra's snappy rejoinder was, �You�re kid-ding!"
Miller, it seems, was de�nitely 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, there�s 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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LCAPITUL REUURUSIn 1952 Frank signed with Capitol Records.Among his �rst efforts for his new label
wasYoung At Heart, which became his �rst gold recordC 1 .or apitol �- meaning that it was purchased byr more than a million people A million adds u t. p 0 alot 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 ll
e 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 shadn't heard around for quite some time. Frank sug-
Hqro is-Frank Sinatra at his �rst recording session for Co IJ _ _ _ I p'lol� Axel� Storduhl conduction
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gested that what was once again good in nightclubs,when he appeared in person would r b b, p o a ly begood 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 -1Sin 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 th
iec 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 coliltl�jbuild 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'
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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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_"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
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cessful commercial enterprise. It was a vindicationof Sinatra's basic good taste and often-expressedbelief that popular music is still music, and mustbe treated with respectful consideration of rhythm,melody and phrasing.
It wasn�t 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, Sinatra�s Capitol advisersfelt that a sequel would probably enjoy about thesame success as the �rst one � and they wanted totop 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 1930�s. 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?�
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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 by
a" 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 the�nal 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 guest
spot 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 theSinatra holds pre production music conference on set of Young at
with Gordon Douglas and Ray Helndorf Bill Muller occomSinatra an the BB Frankie recorded several numbers from
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-2703-~'You.ng At Heart . . . Take a Chance -I Love You . . . South of the Border ,_
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inevitable result of failures on other people�s 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 spectacular�eld 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 L
2787 I Could Have Told You . . . '- Don�t Worry �Bout Me .
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SONGS FOR YOUNG LOVERS 488
My Funny Valentine �They Can't Take That Away From MeFoggy Day �- I Get A Kick Out Of You �- IGirl 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 � SundayPm Gonna Sit Right Down and Write Myself aLetter � Wrap Your Troubles in Dreams -� ITaking 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 ThoseSomeone T_o_ Wateh Over Me 1- You My
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Sinatra is very happy,receiving an award forhis wonderful perform-ance in the motion pic-
� lure being presented byDave Garroway
UAPITUL HUNUBS SINATHA
Capitol Records threw a cock-tail party for Frank Sinatrain New York to celebrate therecord and picture, From Hereto Eternity. Frankie auto-graphs the record Capitol hadmade for the occasion.
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mum HERE T0 iiimitiiiSinatra 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. His�rst reaction was, �I know the guy. Why, I wentto school with him!� The tough little Italian-American, 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 suggestionas 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.
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Frank asked that they keep in close touch with him§�b0�-1t the PTOEFBSS Of the casting and let him knowlmmedlately when they wanted him to come towork! The �rst telegram that arrived Said hischances for getting the part looked good. TheS@°°�d one Sald they looked bad. The third one saidit 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 testwas made, arrived with the startling to everyonebut Sinatra! news that he had the part
The movie was a smash, an artistic and �nangialsuccess. The �nest artists, artisans and craftsmencombined their talents to produce an outstandingmotion picture. lt would have been .3 good picturewithout Sinatra, but his performance was so CodS0 fight, so effective, that it would be hargd tdimagine any other actor in the I'Q1e And when the -i
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_ __ __ __. __ ._ .�_.____��-�--1,2? ____ _�____~�*�'�-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? .
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rank Stnatra 111 one at the tense scenes from Columbua Fromto Eterrnty Spunky Maggua resents pushlng around �ghts
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Frank a d NancyGates, l'llS co star inlha �lm, 90 over thescrnpt on United Arliils sci, Hollywood
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Sinatra plays ct killer whois paid half a million dollarsto kill the President of theU.S. in United Ar1isl|' Sud-denly. Here he has his hairtrimmed by barber MoreyManclell while Nancy Galesand Kim Charney watch.
YUUNB AT HEART
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Sinatra stars opposite lovelyDoris Day in Warner Bros.�Young at Heart�. Sinatraplays the rale of Barney inthe �lm, Cl singer and bril-liant young composer. Thisis Sinatra's �rst picture forWorners and he combinesbath singing and acting for'this role.
NUT AS A S_TRAIii?�Elt
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Wutchmg an autopsy with mixed feelmgs are medical studentsLee Marvin Frank Sinatra and Robert Mttchum
r ...w1.;§*.' I.Broderick Crawford, Sinatra, Producer-Director Stanley Kramerand Earl Kramer on the set at Not As A Stranger an the opening day of production party.
58
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[IN THE SET WITH SINATBA
During ihe �lming of Ynung Af Heart iauren Bacoilvisited Ethel Barrymore and Frank Sinatra
Left, an o�smge chat over leawith Robert Mitchum, Olivia deHaviiland and Frank Sinatra.Right, Frank exchanges iokeswith Franz Planer, famed pho-tographer who is cameramanpn No! As A Sfranger.
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Sinatra. He has a philosophy. Like him, it isstrai;fhtforward and direct.
�The trick is, when you're clown, don�t quit.� A�ghters thought to live by - and above all else,Sinatra is a �ghter.
The Crown Prince of Song has grown up. Helooks better, sings better, performs better. If he isnot happy, he is at least content, with the deep sat-isfying contentment that comes with knowledge ofdoing a dif�cult job and doing it well. He workshard, forti�es himself with seven doughnuts andseven cups of co�ee each morning his lucky num-ber is seven . . . all �ghters are superstitious!. Andalthough he lives quietly, perhaps in loneliness, hisapt description of the present state of affairs isphrased with happy cogency, �Man, I�m on top ofthe world! I�m buoyant!"
Time magazine, in its last issue in 1954, reported;"The imagazine Downbeat Everything in theWorld about the World of Music! published itsannual reader's popularity poll last week, decidedthat �this was the year� of Frank Sinatra.� He wonthe Downbeat vote as America�s favorite pop singer for the �rst time since 1947! and also as the topmale 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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