Frank Sinatra won the Best Supporting Actor Oscar for his performance in From Here to Eternity, was nominated for a Best Actor in a Leading Role Oscar for his work in Suddenly (1954), and earned praise for The Man with the Golden Arm (1955). I think he'd demonstrated he was capable of serious, dramatic acting. And then there's the painful overacting in the following scenes from The Joker Is Wild (1957). This must be what is meant by the expression "chewing up the scenery":
I'm sorry, I love Frank, regular visitors to this blog know I do, but that's difficult to watch. Anytime I see that scene, I imagine Sinatra is tapping into the angst wrought by his infamously tumultuous relationship with Ava Gardner. They met in 1945, began their relationship in 1949, married in November 1951, separated in October 1953, and finally divorced in 1957. Legend has it, the 1950 recording Sinatra made of "I'm a Fool to Want You" during his last, career-waning days at Columbia Records was also possibly Ava-inspired. According to Will Friedwald's Sinatra! The Song is You: A Singer's Art: "After packing an opera's worth of pathos into a single thirty-two-bar chorus, Sinatra supposedly became so overcome with grief that he bolted from the studio in tears." (p. 191).
Step Lively (1944) was Frank Sinatra's second movie, after Higher and Higher (1943). It was also the last film he made for RKO before moving to M-G-M. Step Lively was a musical remake of the Marx Brothers' Room Service (1938). Witness "The Voice" at the pinnacle of Sinatra, v. 1.0:
As long as we're dealing with lost personal classics, I'll serve up another: Donovan Leitch's "Hey Gyp (Dig the Slowness"), which I'm amazed to find on trusty YouTube. This acoustic blues song (which turns psychedelic at the end) is as obscure as it gets: Recorded in 1965, it was released in the U.S. the following year only as a single. But it made a huge impression on me in college -- that cracking bullwhip prefigured the Velvet Underground's 1967 breakthrough album, with its sadomasochistic motifs. Who was "Gyp," I wondered? One had heard that the lavishly talented Donovan, who would later become overexposed as a hippie guru, bummed around on his travels with a young man named Gypsy (later identified as musician Gypsy Dave). It did pique one's curiosity, shall we say.
I don't think I'd ever heard this before, yet it sounds so familiar. I guess that's the quality many classic songs have. How the heck do you imagine he's managed to fight off all those car manufacturers(!)?? They've no doubt thrown some awfully tempting financial offers his way over the years to use it as a commercial jingle. Or is that how I've heard it? A bit of info. from Wikipedia:
"Hey Gyp (Dig the Slowness)" is a song by Donovan. The name "Gyp" refers to his friend Gyp Mills. It has been covered by Eric Burdon and The Animals and The Soul Survivors.
In July 1966, Hickory Records (USA) released the song as A-side (b/w "The War Drags On" 45-1417).
It has been recorded many times, the best-known versions include those by Frank Chacksfield & His Orchestra (1953), a successful vocal cover in the same year by Vic Damone, Frank Sinatra (1958), The Platters (1960), Lenny Welch (1964) and the Righteous Brothers (1965). The Righteous Brothers' version was arguably the most successful, peaking at #5 in the US.
Here is that beautiful Righteous Brothers rendition:
But as is usually the case, if there is one, I'm rather partial to the Sinatra version. From the Chairman's "suicide album," Frank Sinatra Sings for Only the Lonely, conductor/arranger Nelson Riddle perfectly replicated the sound and rhythm of tidal ebb and flow, with help of an orchestra, of course. Obviously, Frank nailed it, emotionally.
I took just a small bite of Shreveport, Louisiana.....I intend to go back. There will be a second post featuring some of the old, vintage buildings and neon signs (I barely scratched the surface) I found there.
I think I'll hitch my cart to this philosophy. There is so much doom and gloom out there currently, it's refreshing to read this quote from National Review by author Tom Wolfe:
"Tom Wolfe and America? He loves the place, a position that puts him at odds with much of the charming aristocracy. He’s also an optimist about America — and American greatness. 'The biggest problem,' says Wolfe, 'is all the people who see a problem.'"
Wolfe believes the world is "on the edge of about 800 more American centuries." In The Bonfire of the Vanities (1987) he all but predicted the Rodney King incident and the resulting Los Angeles riots a full four years before either occurred. This is a smart, intellectual guy, and I'd like to believe he is right. It's so easy to get mired down in the negativity all around. There is much reason to be negative, but I think it's really important to remain hopeful and forward thinking. This short interview with him by National Review is worth a look.
"Ebony and Ivory" is a 1982 number-one single by Paul McCartney, performed with Stevie Wonder. It was released on March 29 of that year. At the simplest level, the song is about the ebony (black) and ivory (white) keys on a piano, but also deals with integration and racial harmony on a deeper level. The title was inspired by McCartney hearing Spike Milligan say "black notes, white notes, and you need to play the two to make harmony folks!". The song is featured on McCartney's album Tug of War as well as several of Wonder's greatest hits albums. The song reached number one in the UK charts in 1982.
Although written by McCartney alone, the song was performed live in the studio by both McCartney and Wonder, though due to conflicting work schedules, both recorded their parts for the song's music video separately (as explained by Sir Paul in his commentary for "The McCartney Years" 3-dvd boxed set).
"Ebony and Ivory" spent seven weeks at No. 1 on the Billboard Hot 100, and was the fourth-biggest hit of 1982. For McCartney, the song's run atop the chart was the longest of any of his post-Beatles works, and second longest career-wise (behind "Hey Jude" with The Beatles); for Wonder, it was his longest-running chart-topper.
Here is the video most of us were/are familiar with:
But, who knew there was an alternate version of both the video and the song? Not I. This is Stevie Wonder-less, and makes me question whether or not Stevie Wonder's inclusion was an afterthought. The concept behind this video is daft -- it seems a bit bizarre to have video for a song about people being "the same wherever you go" and learning "to give each other what we need to survive" set in a male prison, but maybe it's just me:
The 42¢ Sinatra stamp debuts on Monday. Daughter Nancy (with the laughing face) and Frank Jr. will be present for an official ceremony Monday at Gotham Hall in NYC. Frank Jr. will also participate in a ceremony in Hoboken. It'll be almost exactly ten years to the day of his passing (can it really be ten years??). So, I guess I'm gonna sit right down and write myself a letter, put my Sinatra stamp on it, and make believe it came from you.
The song where male chauvinism and misogyny meet and trade notes!
"Wives and Lovers" is a song written by Burt Bacharach and Hal David in 1963. I like the song for its retro/kitsch appeal, yet I can't hear it and not be slightly stunned (and a little amused) at the flagrant male chauvinism sprinkled liberally throughout. Lyrically, it comes uncomfortably close to stalker territory. Because Hal David wrote the lyrics, I'll blame him for the creepy quality of the words and overall concept....or was it just the times in which it was written? Is this how most men thought of women back in the early 1960s? I'm guessing it was. Let's have a look at those lyrics (with some translation):
Hey, little girl, Comb your hair, fix your make-up. Soon he will open the door. Don't think because There's a ring on your finger, You needn't try any more For wives should always be lovers, too. Run to his arms the moment he comes home to you. I'm warning you.
(I'm warning you! That's a little scary. It's surprising Hal David has the door being calmly opened and not busted down.)
Day after day, There are girls at the office, And men will always be men. Don't send him off With your hair still in curlers. You may not see him again.
(Never, ever age or be unattractive, women, 'cause if you do, we'll quickly dump you for one of the numerous, available, pretty girls who decorate our offices like candy, without even batting an eye. Men can't help it. Because they are men. You have been warned.)
For wives should always be lovers, too. Run to his arms the moment he comes home to you. He's almost here.
(Hurry up! He's almost here!! I can hear his footsteps on the walk!! Curlers out!!!)
The well-used back of Jack's hand.
Hey, little girl Better wear something pretty, something you'd wear to go to the city. And dim all the lights, Pour the wine, start the music. Time to get ready for love.
(Ah yes, the wine. Perhaps the problem. Or is it the solution? Either way, it's time to get ready for love. Are you? Ready? Now, dammit! Makes me think of that scene in A Clockwork Orange in which Dim keeps repeating the phrase "ready for love" as Alex sings "I'm Singing in the Rain.")
Oh, time to get ready, Time to get ready, Time to get ready For love...
All kidding aside, Jack Jones released his version in 1963 as the title track to the Wives and Lovers album, earning the 1964 Grammy Award for Best Vocal Performance, Male. It reached #14 on the U.S. charts as it cast a chill in the hearts of wives all across the country, each frantically removing their hair curlers and applying make-up so as to be young, girlish lovers, rather than facing the frightening consequences.
Oh well, the Jack Jones version was taken down, so here's the great Julie London's version. Somehow, the fact a woman is singing it makes it worse.
And is it just me, or is it not instantly apparent exactly where Julie London's cleavage is in the video screen cap above?
"Say 'Si Si'" was written by Ernesto Lecuona, the original Spanish lyrics by Francia Luban (its original title is "Para Vigo Me Voy"), with English lyrics written by Al Stillman. The song was published in 1935. The video features Chet Atkins playing it in 1956.
This endangered theatre was completed in 1949, in the city of Pasadena (Houston). Texas Escapes has a nice picture of the neon at night. What really makes this theatre Deco is its interior. Houston Deco has some pictures of the interior.
Thanks to fellow Sinatraphile Michael Suzich for bringing to my attention the fact that today is Engelbert Humperdinck's 72nd birthday. In fact, Michael and co-workers are no doubt having their annual E.H. birthday celebration right about now. Incredibly, that is a stage name. Brave, to say the least. Along with Tony Bennett, Andy Williams, and Jack Jones, he's one of the last of the old-time crooners. The singer of "Lesbian Seagull," Humperdinck has the singular honor of preventing The Beatles from making it to the number one chart position with their groundbreaking, double-whammy, "Strawberry Fields Forever/Penny Lane." According to Humperdinck's Wikidpedia entry:
Humperdinck's version of "Release Me," done in a smooth ballad style with a full chorus joining him on the third chorus, reached the top ten on both sides of the Atlantic and went to number one in Britain, keeping The Beatles' adventurous "Strawberry Fields" from entering the top slot in the UK. "Release Me" also went on to become the longest running chart single in history. It spent 56 weeks in the Top 50 in a single chart run, a record that still holds to this day.
Even in a year dominated by psychedelic rock music, "Release Me"'s success may not have been that surprising, considering Frank Sinatra's chart comeback that began a year earlier, and stablemate Tom Jones's success with a ballad or two in the interim, both of which probably opened some new room for more traditionally-styled singers. "Release Me" was believed to sell 85,000 copies a day at the height of its popularity, and the song became the singer's signature song for many years.
And here is a charming clip of "Hump" and Dean Martin singing "Crosby, Sinatra, and Me":
Over the last two years, I've taken several pictures of the Cherokee Theater in Rusk, Texas, and its wonderful, vintageneon sign. The theater was built back in 1946, so I had very little hope that the sign would actually still work. On a whim, I Googled "cherokee theater + rusk," and found that it's now the home to a local theater group. And at its website, there's a picture of the theater. At night. Lit up. I have for the last three months been emailing, and even calling them, hoping to get someone to tell me when the sign is turned on. Is it every night (like the SFA Theater, here in Nacogdoches), or just on the evenings of its little skits? But, for whatever reason, nobody was willing (or able) to respond to my emails.
I might have just concluded they turned it on only on the nights of performances, but I was in Rusk a couple of months ago, on a performance night, and I drove by the theater - and the sign was dark....So, I drove back to Rusk this past Saturday night (a performance night of one of their little skits), and got there just a little before 7:30 (the time the little skit was set to begin). And, voilà! Thar she blew, all lit up like a birthday cake. I contained my excitement and took these.
Wanting to take some after dark, I bid my time by walking around the square and taking a couple of shots of the 1941 era, Moderne style Cherokee County Courthouse. I also sat on a nearby bench and looked over the pictures I'd taken. After about ten minutes (now the time would've been 7:45-ish) I walked back to the theater, but the lights were no longer on. So I made it just in time!
Come Fly with Me it ain't (although, it does feature "Brazil" and "Isle of Capri," also on the Sinatra album), but I'm sort of enchanted by it. Some of it is very good. My current favorite is "Say 'Si Si' (Para Vigo Me Voy)," near the end of side two, which features a great example of Billy May and Orchestra's "big, brassy sound," and Crosby and Clooney's voices sound really great together. The concept of the album came from Sammy Cahn and Jimmy Van Heusen, two guys who wrote several of Sinatra's best known songs, including "Come Fly with Me."
In its review, Time magazine called this album, "An infectious musical dialogue between two of the sassiest fancy talkers in the business. C. & C. give slick and witty readings to a selection of retreads — 'On a Slow Boat to China,' 'You Came a Long Way from St. Louis' — and introduce a punchy, potential hit named 'Calcutta.' One of the most intriguing vocal entertainments since Noel Coward had his famous chat with Mary Martin."
Frank Sinatra won the Best Supporting Actor Oscar for his performance in From Here to Eternity, was nominated for a Best Actor in a Leading Role Oscar for his work in Suddenly (1954), and earned praise for The Man with the Golden Arm (1955). I think he'd demonstrated he was capable of serious, dramatic acting.
And then there's the painful overacting in the following scenes from The Joker Is Wild (1957). This must be what is meant by the expression "chewing up the scenery":
They met in 1945, began their relationship in 1949, married in November 1951, separated in October 1953, and finally divorced in 1957. Legend has it, the 1950 recording Sinatra made of "I'm a Fool to Want You" during his last, career-waning days at Columbia Records was also possibly Ava-inspired. According to Will Friedwald's Sinatra! The Song is You: A Singer's Art: "After packing an opera's worth of pathos into a single thirty-two-bar chorus, Sinatra supposedly became so overcome with grief that he bolted from the studio in tears." (p. 191).
