[sinatraphiles] October 25 - THIS DATE IN SINATRA HISTORY

From: "Scott Henderson" <scott@xxxxxxxxxxxxxx>
To: <sinatraphiles@xxxxxxxxxxxxx>
Date: Tue, 25 Oct 2022 10:01:54 -0400

Studio

1962 Paramount Pictures Soundstage, Los Angeles , California
Sound recording for the Paramount picture, "Come Blow Your Horn"
Arranged and conducted by Nelson Riddle
"Come Blow Your Horn" - Frank Sinatra
Vocal runs 2:55

NOTE; Sinatra Scholar Ed O'Brien reports that Riddle conducted a 50-piece
Paramount studio orchestra. The session ran from 3:30 p.m. to 6:20 p.m. At
the Paramount session, Riddle was paid $123.58 and Bill Miller received
$61.79. The 51 musicians were paid a total of $3,423.14.

Sinatra would record the song at Reprise on January 21, 1963. Riddle again
arranged and conducted but with a much different musical concept for the
song.

Emacs!

Rehearsing title tune on the set of "Come Blow Your Horn."
Fellow with Sinatra and Riddle is the film's director Bud
Yorkin

Radio

1941
Saturday
5:30 -5:55 PM
WABC AM NYC
T.D. Orch.

Ed O'Brien:
This was Dorsey's first Saturday show in the fall of 1941. It was set to be
the
usual "Dorsey Hour," but NBC was broadcasting the college football game
between Minnesota and Michigan at Ann Arbor. The game ran over and TD's
show was an abbreviated half-hour. Upside was the avoidance of a head-to-
head battle with the Glenn Miller band, which was aired on another network
from 5 to 5:30.

1941 Live Remote: Meadowbrook Ballroom, Cedar Grove, New Jersey
Saturday Evening
CBS -Radio
WABC
New York City
1:00 - 1:30 a.m.
Tommy Dorsey And His Orchestra
Frank Sinatra, The Pied Pipers, Jo Stafford, Connie Haines, Buddy Rich,
Ziggy Elman, Joe Bushkin

1944 Frank Sinatra In Person
Network: CBS
Location: New York City
Show #11
Sponsor: VIMMS Vitamins
Time: 9:00PM - 9:30PM (EST) Wednesday
Orchestra Conducted By: Axel Stordahl
Arrangements By: Axel Stordahl
Announcer: Jerry Lawrence
Writers: Carroll Carroll
Performers: Eileen Barton, Vimms Vocalists
Guest: Milton Berle
1. It's Only A Paper Moon
2. Skit with Eileen & Axel
3..What A Difference A Day Makes
4. Skit with Eileen & Axel
5. I'm In The Mood For Love
6. Young married couple skit w/ Eileen
7. Come Out, Come Out Wherever You Are - w/Eileen Barton & V.Vocalists
8. Skit with Milton Berle
9. Together   w/ Milton
10.There's No You
11. Closing   next week's guest will be Charles Boyer
Notes: Confirmed airing on WABC.

1947 Your Hit Parade
Network: NBC
Program #647
Time: 9:00-9:30 P.M.EST (Rebroadcast 12:00-12:30 A.M. EST)
Sponsor: Lucky Strike
Script (Final As Broadcast)
1. commercial 1
2. Feudin' And Fightin' (5) - Frank Sinatra & Hit Paraders
3. Just One Of Those Things - Orchestra
4. The Lady From Twenty Nine Palms (6) - Doris Day
5. You Do (4) - Frank Sinatra
6. commercial 2
7. Oklahoma - Orchestra & Hit Paraders
8. Peg O' My Heart (7) - Frank Sinatra
9. Everything I've Got Belongs To You - Orchestra
10, I Wonder Who's Kissing Her Now (3) - Hit Paraders
11. I Wish I Didn't Love You So (2) - Doris Day
12. commercial 3
13. Near You (1) - Frank Sinatra

1949 Light Up Time
Sponsor: Lucky Strike Cigarettes
Network: NBC
Show #37
Broadcast: 4:00-4:15 PM PST (Repeat: 8:00-8:15 PM PST)
Starring: Frank Sinatra & Dorothy Kirsten
Jeff Alexander And The Orchestra
1. opening
2. There's Yes, Yes In Your Eyes - Frank Sinatra
3. commercial 1
4. If You Are But A Dream - Dorothy Kirsten
5. If I Ever Love Again - Frank Sinatra
6. commercial 2
7. Why Do I Love You - Frank Sinatra & Dorothy Kirsten
8. closing

Ed O'Brien:
The AFRS Lite Up Time offers "If I Could Be With You"
with The Pied Pipers backing Frank. Song is lifted from the
9-30-49 Light Up Time. It follows "If I Ever Love Again" on
the 10-25 show.

Television

1957 Frank Sinatra Show
Network: ABC
Show #02
Sponsors: Chesterfield Cigarettes, Bulova Watch Company
Drama: "That Man Hogan"
Starring: Frank Sinatra, Jesse White, Reba Waters

Ed O'Brien writes that Sinatra starred as a lonely cabdriver whose friends
play matchmaker for him.
Later in the series Jesse White would have a recurring role in an attempt to
offer comic relief.

"Frank Sinatra should be more careful. On his opening hour
musical jamboree, he got caught in a mesh of tired comedics,
and in his followup session, a switch to half-hour straight film
play, he floundered in hokey dramatics.
It was a road company Runyonesque yarn whipped up by Hal
Goodman and Larry Klein. Titled "That Man Hogan," it concern-
ed itself with a tough talking but soft hearted cabbie sans wife]
and in charge of two French orphans. Plot on the part of the
kiddies and neighbors is to get the bachelor married. It works
when he mistakes a school-teacher for a floozie with whom he
had been blinddated.
Sinatra handled his role in an effortless and smooth style but
his two Gallic wards, Reba Waters and Johnny Crawford, were
too sticky for credibility. Others in the cast, Jesse White, as a
policeman-neighbor, Susan Cummings and Peggy Maley as the
date, had little to do.
Aside from watching Sinatra glide through the yarn, it had little
to offer in dialog or plot twists. The Sinatra club rates more than
a hack job."
Gros
Variety
10-30-57

Film

1957 Pal Joey (World Premiere:  October 25, 1957)
Starring:  Frank Sinatra, Rita Hayworth, and Kim Novak
Produced by Fred Kohlmar
Directed by George Sidney
Sinatra plays Joey Evans a charming, handsome, funny, talented a-1st class,
A-N°.1... heel of a nightclub singer caught between a rich widow played by
Hayworth and a chorus line mouse played by Novak.
(1st DVD Release date: 1998-03-24 - BluRay Release date: 2012-02-21)
Note:  Pal Joey had a world premiere in Los Angeles, Chicago, and New York
on October 25, 1957

Emacs!

Note: When Harry Cohn acquired the film rights to "Pal Joey," he searched
for many years to find his perfect cast. In 1952,
Cohn thought he had the dream combination of Marlon Brando, Marlene Dietrich
and Rita Hayworth. Eventually
Brando dropped out and Cohn replace him with a young Jack Lemmon. That was
too much for Dietrich and the
project ground to a halt. Sinatra agreed to play the lead in early 1957.
Hayworth was now too old to play Linda,
but Cohn wanted her in the film. He also insisted Kim Novak, under contract,
play the role originally intended
for Rita. The film's budget was approximately $3 million. Sinatra insisted,
even though he was a much bigger star
in 1957, Hayworth receive top billing. When asked why, Frank said "for years
she was Columbia Pictures."
The filming began in late March and was concluded in early June. The
location shooting in San Francisco
was done in very cold weather. Hayworth actually turned blue during one
scene. Frank was on the set
for 19 days.
"Pal Joey" was the fourth highest grossing film of 1957, taking in
$6,700,000.  Raul Perez, Columbia Pictures
archivist, told me the original stereo recordings have been lost. Film
received decent reviews and Frank
won the Golden Globe as best actor in a comedy or musical.
Time has not been good to it. Today it has a 78% rating from the critics and
the audience favorability
comes in at 61%.
Sinatra was then and still is the main reason to see the film. He is the
quintessential Joey Evans and the
absolute highlight of the film is his unforgettable singing of "The Lady Is
A Tramp." Frank's finest musical number
on film.

Here is an excerpt from the Variety review:
Frank Sinatra is potent. He's almost ideal as the irreverent, free-wheeling,
glib Joey, delivering the rapid-fire cracks in a fashion that wrings out the
full deeper-than-pale blue comedy potentials. Point might be made, though,
that it's hard to figure why all the mice fall for this rat. Kim Novak is
one of the mice (term refers to the nitery gals) and rates high as ever in
the looks department but her turn is pallid in contrast with the forceful
job done by Sinatra.
Hayworth, no longer the ingenue, moves with authority as Joey's sponsor and
does the Zip' song visuals in such fiery, amusing style as to rate an
encore. Standout of the score is â Lady Is a Tramp'. It's a wham m
arrangement and Sinatra gives it powerhouse delivery.

--Ed

Concerts

1935 McDonald and Rex Theatre, Eugene, Oregon
Major Bowes' Radio Amateurs
Sinatra performed with the Hoboken Four

1939 Benz Hall, Streator, Illinois
Harry James and his Orchestra w/ Frank Sinatra

1940 Paramount Theater, Los Angeles, CA (October 18 - 30)
Tommy Dorsey and his Orchestra w/Frank Sinatra
(On screen was "Moon Over Burma" with Dorothy Lamour, Robert Preston and
Preston Foster)

1941 Meadowbrook, Cedar Grove , New Jersey (October 9 - October 28)
Tommy Dorsey and his Orchestra w/Frank Sinatra

1942 Metropolitan Theatre in Providence, R.I. (October 23-25)
Tony Pastor Orchestra, The Stroud Twins and Sylvia and Clemence were also on
the bill.

1943 Wedgwood Room, Waldorf Astoria, New York City (October 1 - November 30)

1944 Paramount Theatre , New York City (11-29)
Three-Week Engagement
Frank Sinatra with The Raymond Paige Orchestra
O.A. Eileen Barton, Ollie O'Toole, Pops & Louie
Film: Our Hearts Were Young And Gay

1953 Sands, Las Vegas, Nevada (October 7-27)

1977 Harrah's, Lake Tahoe, Nevada
South Shore Room
Sidemen: Al Viola guitar, Gene Cherico, bass, Irv Cottler, drums, Charlie
Turner, trumpet and Frank's new piano player, Vinnie Falcone.
Orchestra conducted by Bill Miller
O.A. Jackie Gayle
1. Night And Day ( disco version arg. by Joe Beck )
2. I Sing The Songs
3. Something arg. by Don Costa
4. Don't Worry 'Bout Me
5. Gal That Got Away/ Never Entered My Mind
monologue
6. Maybe This Time
7. It Was A Very Good Year
8. Come Fly With Me
9. See The Show Again arg. by Charles Calello
10. My Kind Of Town
11. That's Life
12. My Way

1979 Resorts International, Atlantic City, New Jersey
Orchestra Conducted By: Vincent Falcone, jr.
1.  The Song Is You
2.  Just the Way You Are
3.  The Lady Is a Tramp
4.  Yesterday
5.  Something
6.  I've Got You Under My Skin
7.  The Gal That Got Away / It Never Entered My Mind
8.  For the Good Times
9.  I Can't Get Started
10. You and Me (We Wanted It All)
11. Street of Dreams
12. It Was a Very Good Year
13. April in Paris
14. A Foggy Day
15. Theme From New York, New York

1981 International Ballroom, Beverly Hilton, Los Angeles, California
Sunday
Peter J. Pitchess Sheriff of Los Angeles County was Honorary Chairman
Gene Autry, Bruce Corwin, Waller Taylor II were Dinner Chairmen
Les Brown Orchestra
Reception at 6:30 p.m.
Dinner at 7:30 p.m.
Orchestra Conducted By: Vincent Falcone, jr.
1. Fly Me To The Moon
2. The Best Is Yet To Come
3. Good Thing Going
4. Come Rain Or Come Shine
5. Strangers In The Night
6. Luck Be A Lady
7. My Way
8. Something
9. These Foolish Things
10. monologue
11. Pennies From Heaven
12. I Loved Her
13. New York, New York
Notes: Hailed as a salute to Undersheriff  Sherman Block, it was actually  a
fund raiser for his campaign

1986 Golden Nugget, Las Vegas, Nevada
Saturday evening
First show
Key Musicians: Don Baldini (bass), Irv Cottler (drums), Tony Mattola
(guitar), Bill Miller (piano).
Orchestra Conducted By: Bill Miller
1. I've Got The World On A String
2. What Now My Love
3. For Once In My Life
4. My Heart Stood Still
5. Summer Wind
6. Bewitched
7. I Get A Kick Out Of You
8. More Than You Know
9. Mack The Knife
Monologue
10. I've Got A Crush On You
11. Without A Song
12. Where Or When
13. All The Way Bill Miller on piano
14. Night and Day (Riddle 56 chart)
15. Someone to Watch over Me
16. I've Got You Under my Skin
17. New York , New York

1986 Golden Nugget, Las Vegas, Nevada
Saturday evening
Second show
Key Musicians: Don Baldini (bass), Irv Cottler (drums), Tony Mattola
(guitar), Bill Miller (piano).
Orchestra Conducted By: Bill Miller
1. I've Got The World On A String
2. What Now My Love
3. For Once In My Life
4. My Heart Stood Still
5. Summer Wind
6. Bewitched
7. I Get A Kick Out Of You
8. More Than You Know
9. Mack The Knife
Monologue
10. I've Got A Crush On You
11. Without A Song
12. Where Or When
13. Night and Day (Riddle 56 chart) tells Rustic Cabin story with Cole
Porter and how the songwriter reminded him of that evening during rehearsals
for the songs sung in â High Society.)
14. Someone to Watch over r Me
15. I've Got You Under my Skin
16. One for my Baby
17. New York , New York

NOTE: Ed O'Brien has provided us with the complete song list. When Sinatra
came out on stage for the midnight show, he mentioned the sixth game of the
World Series between the Mets and Red Sox. Famous ninth inning error by
Boston's first baseman Bill Buckner allowed the Mets to rally and then win
the Series the next night.But it wasn't anywhere near as exciting as last
night's game between the Rangers and Cardinals. Truly one for the ages.

Sinatraphile Eugene Lo Curto says that Sinatra was in good form this night.
Brought down the house with "Mack the Knife" and held the last note in "New
York , New York" longer than any version Lo Curto can recall.

I agree, writes Sinatraphile Vance Adair. In fact, in 1986, there was a crop
of fine concert performances: the Meadowlands, "Homecoming," and Oklahoma
are ones that spring immediately to mind. Too bad that this return to form
was not capitalized upon in the studio.

Ed O'Brien then reports that during one of his interviews with guitarist Al
Viola, O'Brien asked Viola if there was anything he wishes Sinatra had done
differently in his career. Al quickly responded with how much he wished
Sinatra had recorded more during the post-retirement years. He recalled a
fabulous concert at the Universal Amphitheatre in July of 1978. He
remembered getting a chill up and down his back as Sinatra sang
magnificiently throughout the show. As he drove home that night, Viola
realized how emphemeral that performance would be. The lucky 6,000 attendees
had been thrilled for 70+ minutes, but time would eventually erode the
memories from that night. Viola knew recordings were forever and reached a
mass audience.

A few stats. O'Brien adds, puts Sinatra's recording output in much better
perspective. In 1969, Sinatra did 51 recordings. There were 50 done from
1979 through 1981 and, in next 11 years (1982 to 1992), Sinatra made 31
recordings

Adair then observes that we have lamented so often how there were so many
missed opporunities in these years. I cannot understand why he didn't do
what Tony Bennett has done an lay down tracks that could have further
augmented his legacy posthumously. Bennett has nearly 200 unreleased tracks
in the vaults precisely to ensure that the franchise will continue long into
the future.

Judging from the comments I have heard from close friends and musical
associates, Adair continues, this Sinatra timidity was entirely
self-engendered. Apparently, Sinatra held to the belief that (lack of good
material not withstanding) he just wasn't robust enough vocally to justify
regular studio engagements. As we all know, some of his concert performances
well into the 80s reveals a voice that is vital, surprisingly supple and
burnished with a darker timbre that could have sung the hell out of a whole
new batch of songs.

Many urged and Sinatra declined, Adair summarized.

There is a related technological point here that is perhaps a little
prosaic, Adair continued, but I have often pondered what may have happened
if he had collaborated with a more dynamic producer around this time. Some
of the concert vocals sound so energetic even in their relative unadorned
state  one can only imagine how they might have sounded with the assistance
of a sensitive and imaginative producer.

Sinatraphile J Daniels asks: What about his live performances during this
time? Does anyone have any idea how many quality concerts are in the vaults?

Adair replies that there are many concerts from the mid-80s that capture
Sinatra in glorious form. Where one can say they are "in the vaults" is
something that must be taken up with a Sinatra estate that is now managed by
Warner Brothers.

In further answer to Daniels' question, Ed O'Brien say that Sinatra's
engineer, Hank Cttaneo, told him that just about everything was recorded.
Unfortunately, most of it was done in analog. Hank could only think of a
handful of digital tapes done in the 80s.

Bo Kiernan, Sinatra's engineer in the 70s, recorded all the concerts. At
Ceasars Palace , he would leave the tapes under the stage. The cleaning lady
would find them in the morning and toss them into the garbage. Ouch! There
are hundreds and hundreds of tapes available from the 1940s up to the mid
1990s. I know a guy who use to have a tape-of-the- month club. A splendid
idea for Warners to consider.

In response to an earlier question by Adair, O'Brien writes that after the
session of February 5, 1976, Sinatra had laid down two tracks with just Bill
Miller. He told Bill that they would record a couple of tracks at the end of
each session from thereon out. Tony Mottola was told virtually the same
thing in the early 80s.

Vinnie Falcone, O'Brien continues, described the rehearsal time Sinatra
devoted for the
three LP jazz set in 1981. He told me that had Sonny Burke lived the project
would have been completed. There were a number of interviews done in the 80s
in which Sinatra went into great detail regarding the album projects that
were in the works.

Probably the biggest disappointment after the jazz set was his three-LP set
with Lena Horne. Quincy Jones was the producer and the recording date were
set for March of 1983. Alas and alack, Horne cancelled at the last minute.
Rescheduled for June and then September, Horne again found reasons not to
appear. Twenty-two years later, Jones told Jonathan Schwartz that the onus
for the projectÃ¢ s failure rested completely with th Horne. He fe felt she
was too intimidated by the idea of recording with Frank Sinatra.

When Sinatra appeared at Yale on April 15, 1986, Sid Zion asked Sinatra
about future album projects. Sinatra promised that an album of great
standards missed along the way would be recorded. Billy May told O'Brien
that he was asked to write a number of charts for plannned albums. As late
as 1988, Sinatra gave Schwartz, during an interview on May 11, 1988, a list
of songs he intended to record.

The spirit was willing, O'Brien concludes, but it simply was too far to go.

-------------------------------------

EXTRA

1935 McDonald and Rex Theatre, Eugene, Oregon
Major Bowes' Radio Amateurs
Sinatra performed with the Hoboken Four

Emacs!

--------------------------------

October 25, 1939 Benz Hall, Streator, Illinois
Harry James and his Orchestra w/ Frank Sinatra

The Times (Streator, Illinois), Thursday October 26, 1939:
Emacs!

-----------------------------------

1944 Frank Sinatra In Person
Network: CBS
Location: New York City
Show #11
Sponsor: VIMMS Vitamins
Time: 9:00PM - 9:30PM (EST) Wednesday
Orchestra Conducted By: Axel Stordahl
Arrangements By: Axel Stordahl
Announcer: Jerry Lawrence
Writers: Carroll Carroll
Performers: Eileen Barton, Vimms Vocalists
Guest: Milton Berle

Emacs!

-----------------------------------

October 25, 1948

[]

[]

--------------------------------------------------

Film

1957 Pal Joey (World Premiere:  October 25, 1957)
Starring:  Frank Sinatra, Rita Hayworth, and Kim Novak
Produced by Fred Kohlmar
Directed by George Sidney
Sinatra plays Joey Evans a charming, handsome, funny, talented a-1st class,
A-N°.1... heel of a nightclub singer caught between a rich widow played by
Hayworth and a chorus line mouse played by Novak.
(1st DVD Release date: 1998-03-24 - BluRay Release date: 2012-02-21)
Note:  Pal Joey had a world premiere in Los Angeles, Chicago, and New York
on October 25, 1957

From Ed:           Frank had become a very successful movie star by then. He
had "Joey" and "Joker Is Wild" in the Top 10 for weeks
"Joey" was held up for two weeks after the initial release before opening
in S.F., Philly, Pittsburgh and other major cities. The
smaller cities and towns would see it come in late Nov. and early Dec.
         Excerpt of Time review:
"Almost everything that could be done wrong the moviemakers have done wrong
in this production, and yet the picture comes
out remarkably right."

Pal Joey was based on the John O'Hara novel of the same name (New York,
1940). Portions of the novel had previously appeared as a short stories in
The New Yorker . According to a May 1957 LAT news item, Columbia purchased
the screen rights to the O'Hara, Lorenz Hart and Richard Rodgers play in
1941. In 1951, an Oct 1951 DV news item noted that Jerry Bresler was
assigned to produce a film based on the play, which was to star Gene Kelly
as "Joey," the role he originated on Broadway. When Kelly's studio, M-G-M
demanded an exorbitant fee for his loan out, the project was shelved.
       The LAT news item notes that the project was then postponed for years
due censorship problems in adapting the play to film. One of difficulties
arose from the racy song lyrics. Several of the more suggestive songs--"In
Our Little Den of Iniquity," "Happy Hunting Horn," and "Take Him (But
Don't Ever Take Him to Heart)"--were eliminated from the film. Three other
songs with racy lyrics--
"You Mustn't Kick It Around," "Plant You Now, Dig You Later" and "Do It
the Hard Way"--are heard in the film as instrumentals only. Although a May
1957 LAT article stated that the song "What Do I Care for a Dame?" was
eliminated from the motion picture, Frank Sinatra performs it in the film. A
Jan 1957 HR news item adds that some of the more suggestive lyrics from the
stage production were toned down for the picture. The following Rodgers and
Hart songs from the 1930s were included in the film but were not performed
in the Broadway version of Pal Joey : "I Didn't Know What Time It Was," "The
Lady Is a Tramp," "There's a Small Hotel" and "My Funny Valentine." In the
film, the character of Joey was changed from a dancer to a singer and the
setting was changed from Chicago to San Francisco. In addition, Joey's
character was softened by the inclusion of the last act in which Joey is
reconciled with "Linda." Various locations throughout San Francisco were
utilized for the film, including Telegraph Hill, according to a May 1957 Var
news item.
       According to an Apr 1956 HR news item, Barbara Stanwyck was
considered for the role of "Vera Simpson." Although a Nov 1956 HR news item
noted that Janis Paige was to perform in the "Zip" strip number, Paige does
not appear in the released film. A Mar 1956 HR news item adds that if
Sinatra had refused the role of Joey, Columbia studio chief Harry Cohn would
have considered Kirk Douglas for the part. According to a May 1957 HR news
item, Flamenco dancer Carmen Amaya coached Novak on some dance steps. A May
1957 HR news item noted that the film's shooting schedule ran from noon
until 8 p.m., a departure from the normal 9 a.m. until 6 p.m. schedule. The
change was made to allow the cast to sleep later, thus improving their
performances. Although a Jun 1957 HR news item stated that Jack Entratter,
the general manager of the Sands Hotel in Las Vegas, was to appear as an
assistant head waiter at Chez Joey, his appearance in the released film has
not been confirmed. HR news items and production charts add Charles Aldrich,
Slim Duncan, Mark Power, and Cosmo Sardo to the cast, but their appearance
in the released film has not been confirmed. Modern sources mention a wide
variety of actors that were considered for various roles in the films, but
this information has not been verified.
       Pal Joey marked the only production of Essex-George Sidney
Productions, a production unit formed by George Sidney and Frank Sinatra.
Pal Joey was nominated for the following Academy Awards: Best Art Direction,
Best Costume Design, Best Film Editing and Best Sound Recording. Sinatra won
the Golden Globe Award for Best Actor for his performance in the film.

Emacs!

Sinatra and Bacall at L.A. Premiere for "Pal Joey."

-----------------------------------

1957 Frank Sinatra Show
Network: ABC
Show #02
Sponsors: Chesterfield Cigarettes, Bulova Watch Company
Drama: "That Man Hogan"
Starring: Frank Sinatra, Jesse White, Reba Waters

Ed O'Brien writes that Sinatra starred as a lonely cabdriver whose friends
play matchmaker for him.
Later in the series Jesse White would have a recurring role in an attempt to
offer comic relief.

Emacs!

Emacs!

------------------------------------

1975 Century Plaza Hotel, Los Angeles
Saturday evening
Friars Dinner For Gene Kelly
M.C. Frank Sinatra
with Shirley Jones, Betty Garrett, Angie Dickenson,
Sid Caesar, Saul Chaplin, Jan Murray, Martin Ritt, Jesse
White, Slappy White, Debby Allen many more

Sinatra has some fun introducing people on dais and at
the VIP tables. He even sings a little bit of "Come Up To
My Place" when introducing Betty Garrett.

Emacs!

Gene Kelly Frank Sinatra  Photo Friars honor Kelly 1975

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This calendar, or any parts thereof, may not be reproduced in any fashion
whatsoever without the prior written permission of the publisher (The
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