Sinatra’s second album with Riddle, Swing Easy!, which reflected his “love for the jazz idiom” according to Granata, was released on August 2 of that year and included
“Just One of Those Things”, “Taking a Chance on Love”, “Get Happy”, and “All of Me”.
 Music career Hoboken Four, Harry James, and Tommy Dorsey (1935–1939) Sinatra (far right) with the Hoboken Four on Major Bowes’ Amateur Hour in 1935 Sinatra began
singing professionally as a teenager, but even though he never learned to read music, he learned music by ear.
What it Seemed to Be”, “Day by Day”, “They Say It’s Wonderful”, “Five Minutes More”, and “The Coffee Song” as singles, and launched his first album, The Voice of Frank
Sinatra, which reached No.
[i] In June, bandleader Harry James, who had heard Sinatra sing on “Dance Parade”, signed a two-year contract of $75 a week one evening after a show at the Paramount Theatre
in New York.
 Sinatra’s first album for Capitol, Songs for Young Lovers, was released on January 4, 1954, and included “A Foggy Day”, “I Get a Kick Out of You”, “My Funny Valentine”,
“Violets for Your Furs” and “They Can’t Take That Away from Me”, songs which became staples of his later concerts.
 Columbia years and career slump (1946–1952) Despite being heavily involved in political activity in 1945 and 1946, in those two years Sinatra sang on 160 radio
shows, recorded 36 times, and shot four films.
 His appeal to bobby soxers, as teenage girls of that time were called, revealed a whole new audience for popular music, which had been recorded mainly for adults up to
They each earned $12.50 for the appearance, and ended up attracting 40,000 votes before winning first prize — a six-month contract to perform on stage and radio across
the U.S.A. Sinatra quickly became the group’s lead singer, and, much to the jealousy of his fellow group members, garnered most of the attention from girls.
 Another collaboration with Riddle resulted in the development of Songs for Swingin’ Lovers!, sometimes seen as one of his best albums, which was released in March 1956.
 Thanks to his vocal training, Sinatra could now sing two tones higher, and developed a repertoire which included songs such as “My Buddy”, “Willow Weep for Me”, “It’s
Funny to Everyone but Me”, “Here Comes the Night”, “On a Little Street in Singapore”, “Ciribiribin”, and “Every Day of My Life”.
[s] Though several notable recordings were made during this time period, such as “If I Could Write a Book” in January 1952, which Granata sees as a “turning point”, forecasting
his later work with its sensitivity, Columbia and MCA dropped him later that year.
However, by the early 1950s, his film career had stalled, so he turned to Las Vegas, where he became one of its best-known residency performers as part of the Rat Pack.
Columbia wanted new recordings of their growing star as quickly as possible, so Alec Wilder was hired as an arranger and conductor for several sessions with a vocal group
called the Bobby Tucker Singers.
“ Sinatra performed for four weeks at the theatre, his act following the Benny Goodman orchestra, after which his contract was renewed for another four weeks by Bob Weitman
due to his popularity.
 Columbia Records re-released Harry James and Sinatra’s August 1939 version of “All or Nothing at All”, which reached number 2 on June 2, and was on the best-selling
list for 18 weeks.
 Such was Sinatra’s command at Columbia that his love of conducting was indulged with the release of the set Frank Sinatra Conducts the Music of Alec Wilder, an offering
unlikely to appeal to Sinatra’s core fanbase at the time, which consisted of teenage girls.
 Sinatra spent much time at his parents’ tavern in Hoboken,[e] working on his homework and occasionally singing a song on top of the player piano for spare change.
 Also that year, Sinatra sang at the Democratic National Convention, and performed with The Dorsey Brothers for a week soon afterwards at the Paramount Theatre.
 Sinatra released “You’ll Never Know”, “Close to You”, “Sunday, Monday, or Always” and “People Will Say We’re in Love” as singles.
 His last studio recording for Columbia, “Why Try To Change Me Now”, was recorded in New York on September 17, 1952, with orchestra arranged and conducted by Percy Faith.
 Though Kelley says that Sinatra and drummer Buddy Rich were bitter rivals,[m] other authors state that they were friends and even roommates when the band was on the road,
but professional jealousy surfaced as both men wanted to be considered the star of Dorsey’s band.
 After spending two weeks on location in Hawaii filming From Here to Eternity, Sinatra returned to KHJ on April 30 for his first recording session with Nelson Riddle,
an established arranger and conductor at Capitol who was Nat King Cole’s musical director.
 Two more chart appearances followed with “Say It” and “Imagination”, which was Sinatra’s first top-10 hit.
 That same month, Sinatra released the single “Young at Heart”, which reached No.
[j] It was with the James band that Sinatra released his first commercial record “From the Bottom of My Heart” in July.
 Sinatra would later feature a number of the Sing and Dance with Frank Sinatra album’s songs, including “Lover”, “It’s Only a Paper Moon”, “It All Depends on You”, on
his 1961 Capitol release, Sinatra’s Swingin’ Session!!!.
 In 1944 Sinatra released “I Couldn’t Sleep a Wink Last Night” as a single and recorded his own version of Crosby’s “White Christmas”, and the following year he released
“I Dream of You (More Than You Dream I Do)”, “Saturday Night (Is the Loneliest Night of the Week)”, “Dream”, and “Nancy (with the Laughing Face)” as singles.
 In March 1939, saxophone player Frank Mane, who knew Sinatra from Jersey City radio station WAAT where both performed on live broadcasts, arranged for him to audition
and record “Our Love”, his first solo studio recording.
 After recording the first song, “I’ve Got the World on a String”, Sinatra offered Riddle a rare expression of praise, “Beautiful!
Sinatra appeared in various musicals such as On the Town (1949), Guys and Dolls (1955), High Society (1956), and Pal Joey (1957), winning another Golden Globe for the lattermost.
Sinatra retired for the first time in 1971, but came out of retirement two years later.
Up until his death in November 1956, Dorsey occasionally made biting comments about Sinatra to the press such as “he’s the most fascinating man in the world, but don’t put
your hand in the cage”.
 It features a recording of “I’ve Got You Under My Skin” by Cole Porter, something which Sinatra paid meticulous care to, taking a reported 22 takes to perfect.
Sinatra soon learned they were auditioning for the Major Bowes Amateur Hour show, and “begged” the group to let him in on the act.
 Sinatra’s publicist, George Evans, encouraged interviews and photographs with fans, and was the man responsible for depicting Sinatra as a vulnerable, shy, Italian–American
with a rough childhood who made good.
 Sinatra typically performed there three times a year, and later acquired a share in the hotel.
 The session produced four recordings, including “I’m Walking Behind You”, Sinatra’s first Capitol single.
 He got his first break in 1935 when his mother persuaded a local singing group called the 3 Flashes to let him join.
 Sinatra in November 1950 Though “The Hucklebuck” reached the top ten, it was his last single release under the Columbia label.
Sinatra became one of Las Vegas’s pioneer residency entertainers, and a prominent figure on the Vegas scene throughout the 1950s and 1960s onwards, a period described
by Rojek as the “high-water mark” of Sinatra’s “hedonism and self absorption”.
[p] Upon leaving Dorsey, Sinatra persuaded Stordahl to come with him and become his personal arranger, offering him $650 a month, five times his salary from Dorsey.
Sinatra earned $125 a week, appearing at the Palmer House in Chicago, and James released Sinatra from his contract.
In 1965, he recorded the retrospective album September of My Years and starred in the Emmy-winning television special Frank Sinatra: A Man and His Music.
 He initially had great success, and performed on the radio on Your Hit Parade from February 1943 until December 1944, and on stage.
 With Sinatra, the group became known as the Hoboken Four, and passed an audition from Edward Bowes to appear on the Major Bowes Amateur Hour show.
“ Sinatra recording at Capitol Studios, c. 1955 In 1955 Sinatra released In the Wee Small Hours, his first 12” LP, featuring songs such as “In the Wee Small Hours
of the Morning”, “Mood Indigo”, “Glad to Be Unhappy” and “When Your Lover Has Gone”.
 Despite the low salary, Sinatra felt that this was the break he was looking for, and boasted to friends that he was going to “become so big that no one could ever touch
Baritone Fred Tamburro stated that “Frank hung around us like we were gods or something”, admitting that they only took him on board because he owned a car[g] and could chauffeur
the group around.
Toward the end of his career, he frequently played detectives, including the title character in Tony Rome (1967).
 The following year he released his second album, Songs by Sinatra, featuring songs of a similar mood and tempo such as Irving Berlin’s “How Deep is the Ocean?”
 Sinatra’s last two albums with Columbia, Dedicated to You and Sing and Dance with Frank Sinatra, were released in 1950.
Later, Sinatra helped Rich form his own band with a $25,000 loan and provided financial help to Rich during times of the drummer’s serious illness.
 When Sinatra was featured as a priest in The Miracle of the Bells, due to press negativity surrounding his alleged Mafia connections at the time,[q] it was announced
to the public that Sinatra would donate his $100,000 in wages from the film to the Catholic Church.
 After the 1942 recordings, Sinatra believed he needed to go solo, with an insatiable desire to compete with Bing Crosby,[n] but he was hampered by his contract which
gave Dorsey 43% of Sinatra’s lifetime earnings in the entertainment industry.
Sinatra then signed with Capitol Records and released several critically lauded albums, some of which are retrospectively noted as being among the first “concept albums”,
including In the Wee Small Hours (1955), Songs for Swingin’ Lovers!
Look at Me Now” and “From This Moment On” revealed “powerful sexual overtones, stunningly achieved through the mounting tension and release of Sinatra’s best-teasing vocal
lines”, while his recording of “River, Stay ‘Way from My Door” in April demonstrated his “brilliance as a syncopational improviser”.
 On October 4, 1953, Sinatra made his first performance at the Sands Hotel and Casino, after an invitation by the manager Jack Entratter, who had previously worked
at the Copa in New York.
 Sinatra later said that “The only two people I’ve ever been afraid of are my mother and Tommy Dorsey”.
 To improve his speech, he began taking elocution lessons for a dollar each from vocal coach John Quinlan, who was one of the first people to notice his impressive vocal
 Sinatra’s relationship with Columbia Records was also disintegrating, with A&R executive Mitch Miller claiming he “couldn’t give away” the singer’s records.
 Onset of Sinatramania and role in World War II (1942–1945) Sinatra with Alida Valli c. 1940s Perfectly simple: It was the war years and there was a great loneliness,
and I was the boy in every corner drugstore, the boy who’d gone off drafted to the war.
While Sinatra never learned how to read music, he worked very hard from a young age to improve his abilities in all aspects of music.
According to Jimmy Van Heusen, Sinatra’s close friend and songwriter, Evans’s death to him was “an enormous shock which defies words”, as he had been crucial to his career
and popularity with the bobbysoxers.
 Born to Italian immigrants in Hoboken, New Jersey, Sinatra was greatly influenced by the intimate, easy-listening vocal style of Bing Crosby and began his musical
career in the swing era with bandleaders Harry James and Tommy Dorsey.
 Sinatra’s fourth wife Barbara would later claim that Dolly was abusive to him when he was a child, and “knocked him around a lot”.
By 1946 he was performing on stage up to 45 times a week, singing up to 100 songs daily, and earning up to $93,000 a week.
Sinatra led a colorful personal life, and was often involved in turbulent affairs with women, such as with his second wife Ava Gardner.
“ Career revival and the Capitol years (1953–1962) Nelson Riddle, Sinatra’s album arranger for Capitol Records The release of the film From Here to Eternity in
August 1953 marked the beginning of a remarkable career revival.
 That year he also made his first solo nightclub appearance at New York’s Riobamba, and a successful concert in the Wedgewood Room of the prestigious Waldorf-Astoria
New York that year secured his popularity in New York high society.
[l] On January 26, 1940, he made his first public appearance with the band at the Coronado Theatre in Rockford, Illinois, opening the show with “Stardust”.
 The Desert Inn, Las Vegas, where Sinatra began performing in 1951 In financial difficulty following his divorce and career decline, Sinatra was forced to borrow $200,000
from Columbia to pay his back taxes after MCA refused to front the money.
 According to Nancy Sinatra, Jack Benny later said, “I thought the goddamned building was going to cave in.
 Tom Santopietro notes that Sinatra began to bury himself in his work, with an “unparalleled frenetic schedule of recordings, movies and concerts”, in what authors
Anthony Summers and Robbyn Swan describe as “a new and brilliant phase”.
 Sinatra’s reputation continued to decline as reports broke out in February of his affair with Ava Gardner and the destruction of his marriage to Nancy, though he
insisted that his marriage had long been over even before he had met Gardner.
[‘On his original birth certificate, Sinatra’s name was recorded incorrectly as “Frank Sinestro”, a clerical error. In May 1945, he officially corrected the name on his birth certificate to “Francis A. Sinatra”.
o ^ The house at 415 Monroe Street
burned down and no longer exists. The site is marked by a brick archway with a bronze plaque on the sidewalk that reads, “Francis Albert Sinatra: The Voice”. The building at 417 Monroe Street has a “From Here to Eternity”, sign with images
of an Oscar statue. It was opened as a museum by Ed Shirak in 2001, but closed after five years due to maintenance issues.
o ^ Other sources incorrectly say Catania.
o ^ Dolly was reportedly arrested six or seven times and convicted
twice for providing illegal abortions, the first of which was in 1937.
o ^ In 1920, Prohibition of alcohol became law in the US. Dolly and Marty ran a tavern during those years, allowed to operate openly by local officials who refused to
enforce the law.
o ^ Sinatra’s loss of employment at the newspaper led to a life-long rift with Garrick. Dolly said of it, “My son is like me. You cross him, he never forgets.”
o ^ Nancy Sinatra notes that he owned a Chrysler and people
would show amazement that such a young kid could afford it.
o ^ The jealousy exhibited by the group members often led to brawls in which they would beat up the small, skinny young Sinatra.
o ^ Only one copy of this recording was made,
a 78 rpm disc. Mane wrote “Frank Sinatra” on the record label and kept the recording in a drawer through the years, giving Sinatra a copy on a cassette tape as a gift in 1979. Mane died in 1998, only months after Sinatra’s death; in 2006, Mane’s
widow offered the recording for sale through Gurnsey’s auction house in New York.
o ^ The only sticking point was that James wanted Sinatra to change his name to Frankie Satin, as he thought that Sinatra sounded too Italian. Neither Sinatra,
nor his mother, would agree to this; he told James that his cousin, Ray Sinatra, was a bandleader in Boston, kept his own name and was doing well with it. James actually knew Ray Sinatra, so he did not press the issue.
o ^ the vocalist,
not to be confused with the comedian Jack E. Leonard.
o ^ Sinatra acknowledged his debt to James throughout his life, and upon hearing of James’ death in 1983, stated: “he is the one that made it all possible.”
o ^ Kelley says that arguments
and fights regularly broke out between Sinatra and Rich, who were both arrogant with volatile tempers. In one incident witnessed by Stafford backstage at the Astor Hotel in New York, Rich called Sinatra a name and Sinatra threw a heavy glass pitcher
filled with water and ice at Rich’s head. In another incident at the Golden Gate Theater in San Francisco, Rich reportedly attempted to ram Sinatra against the wall with his high F cymbal.
o ^ Sinatra said: “The reason I wanted to leave Tommy’s
band was that Crosby was Number One, way up on top of the pile. In the open field, you might say, were some awfully good singers with the orchestras. Bob Eberly (with Jimmy Dorsey) was a fabulous vocalist. Mr. Como (with Ted Weems) is such a wonderful
singer. I thought, if I don’t make a move out of this and try to do it on my own soon, one of those guys will do it, and I’ll have to fight all three of them to get a position”.
o ^ Sinatra’s lawyer, Henry Jaffe, met with Dorsey’s lawyer
N. Joseph Ross in Los Angeles in August 1943. In the words of Kelley: “In the end, MCA, an agency representing Dorsey and courting Sinatra, made Dorsey a $60,000 offer that he accepted. To obtain Frank as a client, the agency paid Dorsey $35,000 while
Sinatra paid $25,000, which he borrowed from Manie Sacks as an advance against his royalties from Columbia Records. MCA agreed that until 1948 it would split its commissions on Sinatra with GAC, the agency that Frank had signed with when he left the
Dorsey band.” However, during a 1979 concert at the Universal Amphitheatre in Los Angeles, Sinatra said that it took him years to escape the contract, and that Dorsey had cost him 7 million dollars.
o ^ The incident started rumors of Sinatra’s
involvement with the Mafia, and was fictionalized in the book and film The Godfather.
o ^ Sinatra was spotted in Havana in 1946 with mobster Lucky Luciano, which started a series of negative press articles, implicating Sinatra with the Mafia.
In 1947 he was involved in a violent incident with journalist Lee Mortimer, who had written some of the most scathing articles on his alleged connections. Kelley says that his articles grew so offensive that Sinatra pounced on him outside Ciro’s
and punched him behind the left ear in response to an insult in which he was called a “dago”. Sinatra was taken to court, and according to Kelley, Mortimer received Mafia threats to drop the case or lose his life.
o ^ Sinatra bought a two percent
share in the hotel for $54,000. At one point the share reached nine percent. He was reportedly ordered to sell his interest in the Sands in 1963, due to his association with mobster Sam Giancana.
o ^ Miller tried to offset Sinatra’s
declining record sales by introducing “gimmicky novel tunes” into the singer’s repertoire such as “Mama Will Bark” to appeal to younger audiences. “Mama Will Bark” is often cited as the worst of Sinatra’s career. Miller thought he would
try this novelty approach for Sinatra because he felt the singer’s “great records” weren’t selling. Initially, Sinatra went along with this approach, but eventually he came to resent Miller for the poor quality of material he was being offered.
Sinatra was not very enthusiastic about the song initially. His friend, Jimmy Van Heusen, convinced him that the song would be a success. Young at Heart was produced by Day’s husband at the time, Marty Melcher, whom Sinatra detested. Their feud
grew worse when Melcher suggested that Day sing “Young at Heart” as the film’s title song when Sinatra’s recording of the song was already a hit. Day conceded that she did not care whose voice was heard singing the film’s title song. Because of
the rift, the Young at Heart soundtrack album contains all the songs heard in the film but the title Young at Heart. Sinatra’s hit recording is heard at the beginning and end of the film.
o ^ Granata noted that Riddle himself believed that
the album came across as darker and more introspective than normal due to the due of his own mother who had recently died earlier in the month that it was recorded.
o ^ Nancy Sinatra notes that her father had a falling out with a bureaucrat
in the country, who refused to admit Sinatra into his house. She says that though he was not formally banned from the country, the bureaucrat “made it seem so” and stated that the situation caused much humiliation to the family.
o ^ Hughes
still resented Sinatra for marrying Ava Gardner, the subject of his own affections. After Hughes saw to it that the hotel imposed restrictions on what he could gamble in the casino, Sinatra began what The Los Angeles Times describes as a
“weekend-long tirade” against the “hotel’s management, employees and security forces”, culminating in a punch from executive Carl Cohen that knocked the caps off Sinatra’s front teeth. He began performing at Caesars Palace.
Sinatra was playing a high stakes baccarat at Caesars Palace, where he was performing at the time, in the early morning hours of September 6, 1970. Normal limits for the game are US$2,000 per hand; Sinatra had been playing for US$8,000 and wanted
the stakes to be raised to US$16,000. When Sinatra began shouting, hotel executive Sanford Waterman came to talk with him. Witnesses to the incident said the two men both made threats, with Waterman producing a gun and pointing it at Sinatra.
Sinatra walked out of the casino and returned to his Palm Springs home without fulfilling the rest of his three-week engagement there. Waterman was booked on a charge of assault with a deadly weapon, but was released without bail. The local district
attorney’s office declined to file charges against Waterman for pulling the gun, stating that Sinatra had refused to make a statement regarding the incident.
o ^ On January 6, 1977, Dolly was aboard a Lear Jet which had just taken off from
Palm Springs Airport when crashed into 10,000 square feet (930 m2) Ridge in the eastern area of the San Gorgonio Wilderness.
o ^ Horne developed vocal problems and Sinatra, committed to other engagements, could not wait to record.
Mitch Miller played English horn and oboe on the Sinatra-led recordings.
o ^ Riddle notes that Sinatra’s range was from the low G to the high F, almost two octaves, but that his practical range was the low A-flat to a D, in comparison to Bing
Crosby whose range was G to C. Though Riddle stated that Sinatra’s lowest was G, he often hit the low F in concerts, and hit the low E at 0:41 in the recording of “What Is This Thing Called Love?” for the 1955 album In the Wee Small Hours.
Sinatra successfully later sued a BBC interviewer who said that he’d used his Mafia connections to get the part.
o ^ Sinatra later remarked that he had always considered his performance in The Man with the Golden Arm to have been the greatest
of his film career, and that he’d won the Oscar for the wrong role.
o ^ Sinatra had stormed off the set when he learned that the film was to be shot in both Cinemascope and a new 55-millimeter process. Refusing to make “two pictures for the
price of one”, he left the production and did not return. Fox initially sued Sinatra for a million dollars for breach of contract and replaced him with Gordon MacRae. Fox agreed to drop the claim on condition that he appear in another picture of theirs.
The film was later made by Stanley Kubrick in 1971 and is now considered to be one of the greatest films of all time.
o ^ Your Hit Parade was a popular weekly radio and television program from 1935 to 1958. Sponsored by American Tobacco
Company’s Lucky Strike brand of cigarettes, the show featured the top ten songs of each week.
o ^ Producer Irving Mansfield described Sinatra as being obsessed with the thought that his wife, Ava Gardner, was having an affair with her former
husband, Artie Shaw. He often started shouting about this on the set of the television show when he phoned his home and could not reach Gardner. Mansfield had to communicate with Sinatra through the entourage that always accompanied him to CBS. Sinatra
was always late to work and did not care to spend any time at rehearsal; he blamed all those connected with the program for the poor ratings it received. Mansfield was at his wits’ end with Sinatra and his television show and quit the program. Mansfield
informed him that he was man of great talent but a failure as a person, which led to Sinatra attempting to angrily fire him. Mansfield replied that he was too late, as he had resigned that morning.
o ^ Presley had responded to the criticism:
“… [Sinatra] is a great success and a fine actor, but I think he shouldn’t have said it … [rock and roll] is a trend, just the same as he faced when he started years ago.”
o ^ While working at “The Rustic Cabin” in 1939 he became involved
in a dispute between his girlfriend, Toni Della Penta, who suffered a miscarriage, and Nancy Barbato, a stonemason’s daughter. After Della Penta attempted to tear off Barbato’s dress, Sinatra ordered Barbato away and told Della Pinta that he would
marry Barbato, several years his junior, because she was pregnant. Della Penta went to the police, and Sinatra was arrested on a morals charge for seduction. After a fight between Della Penta and Dolly, Della Penta was later arrested herself.
Sinatra married Barbato that year, and Nancy Sinatra was born the following year.
o ^ Turner later said the statements were not true in her 1992 autobiography, saying, “The closest things to dates Frank and I enjoyed were a few box lunches
o ^ Rojek states that Sinatra verbally assaulted Cheshire at a party in 1973, remarking, “Get away from me, you scum. Go home and take a bath … You’re nothing but a two-dollar cunt. You know what that means, don’t you? You’ve
been laying down for two dollars all your life”. According to Rojek, Sinatra then proceeded to place two-dollar bills in her wine glass and remarked, “Here’s two dollars, baby, that’s what you’re used to”.
o ^ According to Kelley, Giancana
blamed Sinatra for the ordeal and was fuming at the abuse he had given to the commission’s chairman Ed Olsen. The two men never spoke again.
o ^ Kennedy was strongly advised by Henry Petersen, a senior official of the Justice Department, to
avoid staying with Sinatra.
o ^ When Sinatra learned that Kennedy’s killer Lee Harvey Oswald had watched Suddenly just days before the assassination, he withdrew it from circulation, and it only became distributed again in the late 1980s.
“Blue Eyes Frank Sinatra ia coming back to west end in new musical”. Evening Standard. Archived from the original on June 24, 2021. Retrieved June 21, 2021.
o ^ Pisani, Bob (December 11, 2015). “The business of Frank Sinatra”. CNBC. Archived from
the original on April 10, 2019. Retrieved June 26, 2021.
o ^ Giddens, Garry Bing Crosby: The Unsung King of Song, published 2001
o ^ Jump up to:a b Christgau, Robert (1998). “Frank Sinatra 1915–1998”. Details. Archived from the original on August
3, 2019. Retrieved January 10, 2015.
o ^ Jump up to:a b Rojek 2004, p. 1.
o ^ Santopietro 2008, p. 427.
o ^ Sinatra 1995, p. 17; Summers & Swan 2010, p. 15.
o ^ “Frank Sinatra obituary”. BBC News. May 16, 1998. Archived from the original on
April 11, 2019. Retrieved May 15, 2008.
o ^ Sinatra 1995, p. 15.
o ^ Jump up to:a b c “Frank Sinatra’s dwindling tourist turf in Hoboken”. The Jersey Journal. March 31, 2010. Archived from the original on November 10, 2016. Retrieved October
o ^ “415 Monroe Street”. Google Maps. Archived from the original on March 8, 2021. Retrieved October 6, 2015.
o ^ Sinatra 1986, p. 3.
o ^ Petkov & Mustazza 1995, p. 113.
o ^ Howlett 1980, p. 5; Summers & Swan 2010, pp. 22–25; Kaplan
2011, p. 8: 415 Monroe Street.
o ^ Kelley 1986, p. 13; Travis 2001, p. 1; Turner 2004, p. 4.
o ^ Sinatra 1995, p. 16.
o ^ Kaplan 2011, pp. 4–5.
o ^ Talese, Gay (October 8, 2007). “Frank Sinatra Has a Cold”. Esquire. Archived from the original
on February 28, 2015. Retrieved October 12, 2010.
o ^ Kaplan 2011, p. 6.
o ^ Rojek 2004, p. 25; Santopietro 2008, p. 15.
o ^ Sinatra 2011, p. 86.
o ^ Sann 1967, p. 351.
o ^ Kaplan 2011, pp. 8–9.
o ^ Kelley 1986, p. 28.
o ^ Kuntz & Kuntz
2000, p. 36; Summers & Swan 2010, p. 16.
o ^ Kelley 1986, p. 29.
o ^ Kaplan 2011, pp. 6, 8–9.
o ^ Howlett 1980, p. 5; Kaplan 2011, p. 7.
o ^ Goldstein 1982, p. 2.
o ^ Kaplan 2011, pp. 9–11.
o ^ Kaplan 2011, p. 11.
o ^ Kelley 1986, pp.
o ^ Jump up to:a b c Sinatra at the Sands (1966), Reprise Records
o ^ Sinatra 2011, p. 193.
o ^ Rojek 2004, p. 135.
o ^ Jump up to:a b Lahr 2000, p. 56.
o ^ Jump up to:a b c d Donnelley 2003, p. 642.
o ^ Sinatra 1986, p. 8.
Hodge 1992, p. 8; Rojek 2004, p. 135.
o ^ Lahr 2000, p. 54.
o ^ Summers & Swan 2010, pp. 44, 47.
o ^ Kelley 1986, pp. 44–45.
o ^ Jump up to:a b Kelley 1986, p. 45.
o ^ D’Andrea, Niki (July 7, 2011). “Top Ten Things That Make Frank Sinatra
Cool”. Phoenix New Times. Archived from the original on September 29, 2015. Retrieved September 28, 2015.
o ^ Young & Young 2007, p. 474.
o ^ Sinatra 1986, p. 18.
o ^ Kelley 1986, p. 39.
o ^ Santopietro 2008, p. 25.
o ^ Rojek 2004, p. 40.
Kelley 1986, p. 42.
o ^ Quirk & Schoell 1999, pp. 19–20.
o ^ Hodge 1992, p. 11; Rojek 2004, p. 41.
o ^ Jump up to:a b Santopietro 2008, p. 27.
o ^ Kelley 1986, p. 46.
o ^ Jump up to:a b Coyne, Kevin (October 22, 2006). “Sinatra’s First,
Freed at Last”. The New York Times. Archived from the original on September 29, 2015. Retrieved September 1, 2015.
o ^ Kelley 1986, p. 53; Ingham 2005, p. 9.
o ^ Rotella 2010, p. 8.
o ^ “Ray Sinatra”. discogs. Archived from the original on May
24, 2015. Retrieved September 1, 2015.
o ^ Simon, George T. (November 20, 1965). “The Sinatra Report”. Billboard. Archived from the original on August 18, 2021. Retrieved September 1, 2015.
o ^ Petkov & Mustazza 1995, p. 85.
o ^ “Frank Sinatra”.
Rolling Stone. Archived from the original on September 20, 2011. Retrieved September 19, 2011.
o ^ Kelley 1986, p. 55.
o ^ Kelley 1986, p. 54.
o ^ Wood 1996, p. 135.
o ^ Jump up to:a b Gilliland, John (1994). Pop Chronicles the 40s: The Lively
Story of Pop Music in the 40s (audiobook). ISBN 978-1-55935-147-8. OCLC 31611854. Tape 1, side A.
o ^ Jump up to:a b Sinatra 1986, p. 24.
o ^ Silva 2000, p. 12.
o ^ Lees 1998, p. 94.
o ^ Jump up to:a b Lahr 2000, pp. 59–60.
o ^ Kelley 1986,
pp. 59–60; Lahr 2000, p. 59.
o ^ Kaplan 2011, p. 1.
o ^ Kelley 1986, pp. 58–59.
o ^ Shaw 1968, p. 34; Consiglio & Douskey 2011, p. 135.
o ^ Jump up to:a b Whitburn 1986, p. 136.
o ^ Whitburn 1986, p. 136; Summers & Swan 2010, p. 91.
Kelley 1986, pp. 567–568.
o ^ Kelley 1986, p. 67; Lees 1998, p. 97.
o ^ Kelley 1986, p. 67.
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