Schools vs. Frank Sinatra and Zoot Suits

1944 ◽  
Vol 127 (5) ◽  
pp. 153-155
Author(s):  
Samuel G. Gilburt
Keyword(s):  
Frank Sinatra

‘An Elegant Legacy?’

2019 ◽  
pp. 181-203
Author(s):  
Danielle Birkett
Keyword(s):  
Archival Research ◽  
Animated Film ◽  
Political Message ◽  
Broadway Musicals ◽  
Frank Sinatra

Different issues challenged the screen adaptation of Finian’s Rainbow, which was one of the most successful Broadway musicals of the 1940s but took more than twenty years to be released as a film. Using archival research, this chapter reveals the frustrated early attempts to make Finian’s into an animated film musical, partly blighted by the blacklisting of lyricist E. Y. Harburg in 1951. Ex-Disney animator John Hubley was hired to work on the film and created more than 400 storyboard sketches, designs, and character drafts for the movie. By 1954, ten key songs had been recorded by leading artists such as Frank Sinatra, Ella Fitzgerald, and Louis Armstrong; indeed, in an attempt to make the project as commercial as possible, Sinatra was assigned a part in nearly all the songs. A new prologue was added and changes were made to the story to soften its vigorous political message, but for a mixture of political and financial reasons the production was abruptly closed down; Finian’s Rainbow would not reach the screen until late the following decade.

scholarly journals Otelo do Folias D’arte: canções como enquadramento épico

Letras ◽  
2015 ◽  
pp. 135
Author(s):  
Célia Maria Arns de Miranda
Keyword(s):  
New York ◽  
Frank Sinatra ◽  
The Doors

No espetáculo Otelo, realizado pelo Grupo Folias D’Arte (2003-2004), a reflexão sobre o fazer teatral torna-se um procedimento imperativo. Marco Antonio Rodrigues (encenador), através da inserção das músicas “New York, New York ”(Frank Sinatra) e “The End” (The Doors), que desempenham uma função de enquadramento épico e de comentário crítico da ação, identifica o referente contemporâneo ao estabelecer o diálogo entre a cultura-fonte e a cultura-alvo.

scholarly journals Europäische Kunstmusik in der Musikindustrie der USA am Beispiel des Gesangsschaffens von Frank Sinatra

2021 ◽  
Vol 70 (2) ◽  
pp. 150-170
Author(s):  
Natalia V. Gubkina
Keyword(s):  
Frank Sinatra

Das Gesamtschaffen von Sinatra bildet eine außerordentlich vielgestaltige, multikulturelle Erscheinung in der Geschichte des Jazz- und Pop-Gesangs. Sinatras Repertoire, das zwischen 1939 und 1993 aufgenommen wurde, schließt neben Musical-Songs, Jazz-Standards und Popmusik in vielfältiger Stilistik auch Werke der europäischen Kunstmusik ein, die er in verschiedenen Arrangements und in der ihm eigenen individuellen Gesangsmanier interpretierte. Die Songs, in denen er Werke und Elemente der europöischen Kunstmusik aufgreift, bilden eine wenig bekannte und bis heute meist unterschätzte Facette seines Oeuvres. Sinatras Klassik-Adaptionen symbolisieren einen allgemeinen Prozess des Einbauens des abendländischen musikalischen Erbes des 17. bis 19. Jahrhunderts in die amerikanische Kultur - eine neuartige Kultur mit Ambitionen für die Assimilation der europäischen und außereuropäischen Traditionen. bms online (Cornelia Schöntube)

scholarly journals CARACTERIZAÇÃO E ANÁLISE DO PERFIL COMO GÊNERO EM ‘SINATRA ESTÁ RESFRIADO’

2018 ◽  
Vol 8 (1) ◽  
pp. 61
Author(s):  
Michelle Moreira Braz ◽  
Antonio Carlos Sardinha
Keyword(s):  
Mikhail Bakhtin ◽  
Frank Sinatra

<p>A apreensão das características gerais, estratégias e delineamentos da produção do perfil como narrativa produzida pelo repórter a partir da apropriação técnica e estética na construção de sentido operadas pelo jornalismo nas especificidades lingüísticas/discursivas é uma questão, por si só, que provoca inquietações de ordem teórica e prática. Compreender a dimensão conceitual do perfil como gênero peculiar no jornalismo e elaborar por meio das técnicas de reportagem essa narrativa demanda problematização que alcance, sobretudo, a instância de produção de sentido, operado pelo repórter-narrador. Neste artigo, o interesse é compreender o perfil como gênero na perspectiva de Mikhail Bakhtin, considerando abordagem teórico-metodológica do teórico russo, a partir da análise do perfil “Frank Sinatra has a cold”, produzido pelo jornalista Gay Talese para a revista Esquire em abril de 1966. Em termos gerais, a compreensão das características de produção do discurso no perfil torna um elemento conceitual para refletir sobre o fazer jornalístico, ética, construção de uma personagem em trânsito com a esfera pública e privada, tomadas de posição – e poder – nas relações entre jornalista e perfilado.</p><p> </p>

Frank Sinatra and Notions of Tolerance

2010 ◽  
pp. 67-75
Author(s):  
Anthony Julian Tamburri
Keyword(s):  
Frank Sinatra

Theatrical Disaster … Cinematic Success

2019 ◽  
pp. 43-54
Author(s):  
Andy Propst
Keyword(s):  
Good News ◽  
Ball Game ◽  
Broadway Musical ◽  
Frank Sinatra

Betty Comden and Adolph Green, after finishing work on the screenplay for Good News, began work on their third Broadway musical. It became Bonanza Bound, and the tuner, a comedy set in the 1890s in Alaska, closed during its tryout engagement in Philadelphia. Though critics were chilly toward this show, there were warm notices for the film. It prompted MGM to offer them work on two more movies, and Comden and Green returned to Hollywood to work on the Fred Astaire and Ginger Rogers picture The Barkleys of Broadway and Take Me Out to the Ball Game, which starred Gene Kelly and Frank Sinatra.

Sucker

2020 ◽  
pp. 296-310
Author(s):  
Steven C. Smith
Keyword(s):  
New York ◽  
Film Music ◽  
Health Crisis ◽  
New York Philharmonic ◽  
Concert Programming ◽  
Frank Sinatra

Today, the performance of film music is a staple of symphony concert programming. In 1943, it was an anomaly. That year, Steiner was invited to conduct the New York Philharmonic for a potential audience of twenty thousand at Lewisohn Stadium. But for Max, the concert proved a humiliating disaster, due to the orchestra’s open hostility toward a “Hollywood” composer, and the addition to the program of 27-year-old Frank Sinatra. More teen idol than respected singer at the time, Sinatra inspired Beatles-like screaming from his fans throughout the concert, upstaging Steiner. A series of personal calamities followed: the death of Max’s beloved father, a health crisis of his own, and seemingly insurmountable debt. Again, music was Steiner’s salvation. The 1944 film Since You Went Away—his last collaboration with Selznick—earned Max a third Oscar. But shortly after its release, Steiner was devastated by news that Louise wanted a divorce.

Come Fly with Me: Frank Sinatra, the Old Left, and thePax Americana

Prospects ◽  
2004 ◽  
Vol 28 ◽  
pp. 577-595
Author(s):  
Christopher Breu
Keyword(s):  
Political Community ◽  
Community Formation ◽  
The Political ◽  
Right Wing ◽  
Popular Song ◽  
Sound Track ◽  
Old Left ◽  
Rock N Roll ◽  
20Th Century United States ◽  
Frank Sinatra

Frank Sinatra has always been a contradictory figure. Biographers have often commented on the paradoxical nature of Sinatra's personality, attempting in vain to reconcile the sensitivity, subtlety, and stark emotionality demonstrated by one of the 20th century's foremost interpreters of popular song with the image of the violent, boorish, and insensitive thug that denned his offstage persona. The more politically minded of his biographers have also commented on his radical political swing from fellow traveler of the Communist Party to right-wing ideologue over the course of his 50-plus-year career (though whether one wants to count the last twenty years or so of it as a defensible “career” rather than an extended exercise in ill-advised self-indulgence is another matter). They have attributed this shift either to Sinatra's fury at being first courted and then slighted by the Kennedy administration, which after the 1960 presidential election smartly distanced itself from Sinatra's mob ties, or to his visceral hatred of rock 'n' roll and, by extension, the counterculture for which it provided the sound track and of which it was a partial expression. While these explanations are convincing on the level of psychobiography, they miss the larger cultural scope of the political contradictions that shaped Sinatra's career — contradictions that lend his career an allegorical significance in charting the expressions and transformations of political community formation in the mid-20th-century United States. That this allegorical significance extends beyond the caprice of the cultural studies analysis that follows is suggested by Sinatra's enduring popularity as a national icon.

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