Sinatra Song Quotes

He turned to leave, then hesitated. "One more thing." He walked up to me. "I've also been thinking about your declaration of undying love or whatever." "I didn't - it wasn't -" He clamped his hands on the sides of my gooey face and kissed me. I had to wonder: was it possible to dissolve into chocolate on a molecular level and melt into a puddle on the carpet? Because that's how I felt. I'm pretty sure Valhalla had to resurrect me several times during the course of that kiss. Otherwise, I don't know how I was still in one piece when Alex finally pulled away. He studied me critically, his brown and amber eyes taking me in. He had a chocolate moustache and goatee now, and chocolate down the front of his sweater vest. I'll be honest. A small part of my brain thought, Alex is male right now. I have just been kissed by a dude. How do I feel about that? The rest of my brain answered: I have just been kissed by Alex Fierro. I am absolutely great with that. In fact, I might have done something typically embarrassing and stupid, like making the aforementioned declaration of undying love, but Alex spared me. "Eh." He shrugged. "I'll keep thinking about it. I'll get back to you. In the meantime, definitely take that shower." He left, whistling a tune that might have been a Frank Sinatra song from the elevator, "Fly Me to the Moon".

I have to know.” “Know what?” Jaden demanded. “Well, for starters, I have to know why you left without even saying goodbye.” Without thinking, he caressed the soft curve of her cheek with his thumb, stroking it affectionately as he stared into her green eyes. “But more importantly, I need to know why a woman I barely know has left such a gaping hole in my chest, why when I open my eyes in the morning I’m disappointed that you aren’t there, and why every song on the radio sounds like Frank Sinatra. Why is it that one night with you felt more like a thousand?

What is love? Great minds have been grappling with this question through the ages, and in the modern era, they have come up with many different answers. According to the Western philosopher Pat Benatar, love is a battlefield. Her paisan Frank Sinatra would add the corollary that love is a tender trap. The stoner kids who spent the summer of 1978 looking cool on the hoods of their Trans Ams in the Pierce Elementary School parking lot used to scare us little kids by blasting the Sweet hit “Love Is Like Oxygen”—you get too much, you get too high, not enough and you’re gonna die. Love hurts. Love stinks. Love bites, love bleeds, love is the drug. The troubadours of our times all agree: They want to know what love is, and they want you to show them. But the answer is simple. Love is a mix tape.

I’m a Fool” may not be a great song, but Sinatra’s shattering performance of it transcends the material. His emotion is so naked that we’re at once embarrassed and compelled: we literally feel for him.

Walter Benjamin, in his prescient 1923 essay “One Way Street,” said a book was an outdated means of communication between two boxes of index cards. One professor goes through books, looking for tasty bits he can copy onto index cards. Then he types his index cards up into a book, so other professors can go through it and copy tasty bits onto their own index cards. Benjamin’s joke was: Why not just sell the index cards? I guess that’s why we trade mix tapes. We music fans love our classic albums, our seamless masterpieces, our Blonde on Blondes and our Talking Books. But we love to pluck songs off those albums and mix them up with other songs, plunging them back into the rest of the manic slipstream of rock and roll. I’d rather hear the Beatles’ “Getting Better” on a mix tape than on Sgt. Pepper any day. I’d rather hear a Frank Sinatra song between Run-DMC and Bananarama than between two other Frank Sinatra songs. When you stick a song on a tape, you set it free.

If love lyrics were too mushy, he could sing them and make wised-up fun of the mush, and still, in some part of the self, acknowledge that there was some truth to the words. He could be tender and still be a tough guy. Ruth Etting could sing her weepy torch songs, but for men, whining or self-pity was not allowed; they were forbidden by the male codes of the city. Sinatra slowly found a way to allow tenderness into the performance while remaining manly. When he finally took command of his own career, he perfected the role of the Tender Tough Guy and passed it on to several generations of Americans. Before him, that archetype did not exist in American popular culture. That is one reason why he continues to matter; Frank Sinatra created a new model for American masculinity.

And then I go and spoil it all By saying somethin' stupid like, "I love you

The summer wind came blowin' in From across the sea It lingered there so warm and fair To walk with me All summer long, we sang a song And then we strolled on golden sand Two amigos And the summer wind Like painted kites Those days and nights, they went flyin' by The world was new Beneath a bright blue umbrella sky Then softer than a piper man One day, it called to you And I lost you, I lost you To the summer wind The autumn wind and the winter winds They have come and they have gone And still the days, those lonely days They go on and on And guess who sighs his lullabies Through nights that never end My fickle friend, the summer wind The summer wind, the summer wind The summer wind

It was Yahweh, not Satan, who brought this drought upon the people and upon all that they produced. And it is Yahweh who will bring this same sort of spiritual drought upon you and upon all that you produce, if you neglect the house of God to pursue your own personal goals and insist on doing things your own way, while you whistle Frank Sinatra's song.

Eventually I became a tad compulsive about hearing certain songs. At first it was a handful of jazz classics—Miles Davis’s “Freddie Freeloader,” John Coltrane’s “My Favorite Things,” Frank Sinatra’s “Luck Be a Lady.” (Before one primary debate, I must have played that last track two or three times in a row, clearly indicating a lack of confidence in my preparations.)

The economic boom that followed World War II had made them richer than their parents. Instead of a comfortable life with a husband they'd known since high school, they craved glamour and romance. "We all learned from the movie stars," says Loretta, who married three times and now lives in Lake Worth, Florida. "New York then was like long black gloves and little hats, and you met your sweetheart in New York for a drink, kind of thing. It was like Sinatra and stuff like that. The songs had words, and you closed your eyes.

Eventually I became a tad compulsive about hearing certain songs. At first it was a handful of jazz classics—Miles Davis’s “Freddie Freeloader,” John Coltrane’s “My Favorite Things,” Frank Sinatra’s “Luck Be a Lady.” (Before one primary debate, I must have played that last track two or three times in a row, clearly indicating a lack of confidence in my preparations.) Ultimately it was rap that got my head in the right place, two songs especially: Jay-Z’s “My 1st Song” and Eminem’s “Lose Yourself.” Both were about defying the odds and putting it all on the line (“Look, if you had one shot or one opportunity, to seize everything you ever wanted in one moment, would you capture it? Or just let it slip…”); how it felt to spin something out of nothing; getting by on wit, hustle, and fear disguised as bravado. The lyrics felt tailored to my early underdog status. And as I sat alone in the back of the Secret Service van on the way to a debate site, in my crisp uniform and dimpled tie, I’d nod my head to the beat of those songs, feeling a whiff of private rebellion, a connection to something grittier and more real than all the fuss and deference that now surrounded me. It was a way to cut through the artifice and remember who I was.

There’s a tap on my shoulder. I turn around and get lost in a sea of blue. A Jersey-accented voice says, “It’s about time, kid,” and Frank Sinatra rattles the ice in his glass of Jack Daniel’s. Looking at the swirling deep-brown liquid, he whispers, “Ain’t it beautiful?” This is my introduction to the Chairman of the Board. We spend the next half hour talking Jersey, Hoboken, swimming in the Hudson River and the Shore. We then sit down for dinner at a table with Robert De Niro, Angie Dickinson and Frank and his wife, Barbara. This is all occurring at the Hollywood “Guinea Party” Patti and I have been invited to, courtesy of Tita Cahn. Patti had met Tita a few weeks previous at the nail parlor. She’s the wife of Sammy Cahn, famous for such songs as “All The Way,” “Teach Me Tonight” and “Only the Lonely.” She called one afternoon and told us she was hosting a private event. She said it would be very quiet and couldn’t tell us who would be there, but assured us we’d be very comfortable. So off into the LA night we went. During the evening, we befriend the Sinatras and are quietly invited into the circle of the last of the old Hollywood stars. Over the next several years we attend a few very private events where Frank and the remaining clan hold forth. The only other musician in the room is often Quincy Jones, and besides Patti and I there is rarely a rocker in sight. The Sinatras are gracious hosts and our acquaintance culminates in our being invited to Frank’s eightieth birthday party dinner. It’s a sedate event at the Sinatras’ Los Angeles home. Sometime after dinner, we find ourselves around the living room piano with Steve and Eydie Gorme and Bob Dylan. Steve is playing the piano and up close he and Eydie can really sing the great standards. Patti has been thoroughly schooled in jazz by Jerry Coker, one of the great jazz educators at the Frost School of Music at the University of Miami. She was there at the same time as Bruce Hornsby, Jaco Pastorius and Pat Metheny, and she learned her stuff. At Frank’s, as the music drifts on, she slips gently in on “My One and Only Love.” Patti is a secret weapon. She can sing torch like a cross between Peggy Lee and Julie London (I’m not kidding). Eydie Gorme hears Patti, stops the music and says, “Frank, come over here. We’ve got a singer!” Frank moves to the piano and I then get to watch my wife beautifully serenade Frank Sinatra and Bob Dylan, to be met by a torrent of applause when she’s finished. The next day we play Frank’s eightieth birthday celebration for ABC TV and I get to escort him to the stage along with Tony Bennett. It’s a beautiful evening and a fitting celebration for the greatest pop singer of all time. Two years later Frank passed away and we were generously invited to his funeral. A

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget.

It occurred to me that his priority was protecting my spastic head, and not the repulsive fluids that were spreading over his face. At that moment, I remember hearing Frank Sinatra singing “As Time Goes By,” which he once sang during TV hour. Perhaps all my thrashing jostled that particular memory loose. Eventually, the ambient sounds of the room fell away until nothing was left but the song and Ridick’s own Sinatra-brand blue eyes. As if it weren’t even my choice, my convulsions slowed and eventually stopped altogether, until my head fell to one side and I started to sob. Two parts shame and one part self-pity, it was the only time I felt loved by anyone besides Natalya.

As it became his signature song Sinatra grew to loathe it, forced to stand before his adoring audience and expose the ugly truth about his aggressive disregard for the thoughts and feelings of other people.

Frank Sinatra’s song “My Way

This new generation of Italian American entertainers shared Sinatra’s view of the new dance music that emerged in the 1950s. “Rock-and-roll is the most brutal, ugly, desperate, vicious form of expression it has been my misfortune to hear,” Sinatra told Congress in 1958. “Rock-and-roll smells phony and false. It is sung, played, and written for the most part by cretinous goons, and by means of its almost imbecilic reiteration, and sly, lewd—in plain fact, dirty—lyrics … it manages to be the martial music of every sideburned delinquent on the face of the earth.” In response to the raw, driving sexuality of black-influenced rock, young Italian American men in New York and Philadelphia did to the new music what Sinatra and his generation had done to jazz. A style combining smooth vocal harmonies, romantic lyrics, and a stationary stage presence, doo-wop was invented in the 1940s by black youth on street corners, but it shot to the top of the pop charts in the late 1950s when Italian Americans adopted it as their own—just as most African American performers moved toward “soul music.” From 1958, when Dion (DiMucci) and the Belmonts placed several songs on the pop charts, until the “British Invasion” of 1964, Italian American doo-wop groups dominated American popular music. All wearing conservative suits and exuding a benign romanticism, the Capris, the Elegants, the Mystics, the Duprees, the Del-Satins, the Four Jays, the Essentials, Randy and the Rainbows, and Vito & the Salutations declared the arrival of Italians into American civilization. During the rise of doo-wop and Frank Rizzo, Malcolm X mocked the newly white Italians. “No Italian will ever jump up in my face and start putting bad mouth on me,” he said, “because I know his history. I tell him when you’re talking about me you’re talking about your pappy, your father. He knows his history. He knows how he got that color.” Though fewer and fewer Italian Americans know the history of which Malcolm X spoke, some have reenacted it.

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Dean Martin, and Sammy Davis Jr. The cool kids of the 1960s invited the old man who had been cool before they knew cool was cool to join them in a musical romp that nobody took particularly seriously. Crosby enjoys himself. He has nothing at stake, since he’s not the star who has to carry the film. He’s very casual, and appears to be ad-libbing all his lines in the old Road tradition with a touch of W. C. Fields’s colorful vocabulary thrown in: “You gentlemen find my raiment repulsive?” he asks Sinatra and Martin when they object to his character’s lack of chic flash in clothing. Crosby plays a clever con man who disguises himself as square, and his outfits reflect a conservative vibe in the eyes of the cats who are looking him over. The inquiry leads into a number, “Style,” in which Sinatra and Martin put Crosby behind closet doors for a series of humorous outfit changes, to try to spruce him up. Crosby comes out in a plaid suit with knickers and then in yellow pants and an orange-striped shirt. Martin and Sinatra keep on singing—and hoping—while Crosby models a fez. He finally emerges with a straw hat, a cane, and a boutonniere in his tuxedo lapel, looking like a dude. In his own low-key way, taking his spot in the center, right between the other two, Crosby joins in the song and begins to take musical charge. Sinatra is clearly digging Crosby, the older man he always wanted to emulate.*17 Both Sinatra and Martin are perfectly willing to let Crosby be the focus. He’s earned it. He’s the original that the other two wanted to become. He was there when Sinatra and Martin were still kids. He’s Bing Crosby! The three men begin to do a kind of old man’s strut, singing and dancing perfectly together (“…his hat got a little more shiny…”). The audience is looking at the three dominant male singers of the era from 1940 to 1977. They’re having fun, showing everyone exactly not only what makes a pro, not only what makes a star, but what makes a legend. Three great talents, singing and dancing about style, which they’ve all clearly got plenty of: Frank Sinatra, Bing Crosby, and Dean Martin in Robin and the 7 Hoods

Sinatra would hate “Strangers in the Night” ever after. “He thought it was about two fags in a bar!” said Warner-Reprise’s Joe Smith. (Singing it for audiences, he sometimes changed the lyric “Love was just a glance away/a warm embracing dance away” to “a lonesome pair of pants away.”) In 1975, in a concert in Jerusalem, Frank would introduce it thus: “Here’s a song that I cannot stand. I just cannot stand this song. But what the hell.

Dear readers, a long time ago the writer F. Scott Fitzgerald had written about writers not being people exactly, but a whole lot of people trying to be one. I would like to take his philosophy further by stating that in fact these different people who live inside a writer's mind lead to believe it or not dearest readers - sometimes to pure ecstasy and sometimes to serious fights akin to a World War. Not to forget the innumerable dilemmas, catch 22 situations. While one day the writer could wake up to a feeling of perfect harmony with Frank Sinatra's songs playing in the background of his mind, some other morning he wakes up with a feeling of mental catastrophe. One afternoon the democratic type gets into a confrontation with the communist type. And one fine evening the timid, mild and gentle type gets into a tussle with the downright belligerent and war mongering type. So my dear readers understand the situation before hand about my writings. You will definitely find me unpredictable. But then I am after all a writer. And a writer should also not be predictable.

We can’t pray effectively until we get in touch with our inner brat. When we see our own self-will, it opens the door to doing things through God. Instead of singing Frank Sinatra’s song “My Way,” we enter into God’s story and watch him do it his way. No one works like him.

I also like Sinatra’s Songs for Young Lovers album.

I fear a future in which America becomes a loose aggregate of marauding tribes—no binding traditions, no songs that we all know, not even “The Star-Spangled Banner” or “Silent Night,” no common heroes, no American literature—only the promotional lit of race and ethnicity, our people unable to name their senators, their only political experience via television, their only public life at Wal-Mart. There are no more TV shows that everyone knows: 10 percent of audience is a huge hit. The last singer recognizable to everyone was Frank Sinatra, the last poet known far and wide was Robert Frost. There are no replacements in sight. Today’s celebrities are people whom most Americans haven’t heard of.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget. When Lana was finished, the audience clapped, whistled, and stomped, but I sat silent and stunned as she bowed and gracefully withdrew, so disarmed I could not even applaud.

Beck is nothing if not adaptable. He was a ponytail-wearing liberal before he saw a commercial opening in conservative talk radio. Now that an improving economy has cast doubt on his end-times visions, he's recasting himself again. This week, he unveiled a new mission statement for the Blaze: "We tell stories of love and courage where the good guys win." He devoted a radio show this week to "three classic Frank Sinatra songs you need to hear.

So happy birthday to Frank Sinatra at 99! As the song says, "Fly me to the moon, . . . let me swing among the stars." I’ll bet he’s doing that right now! Happy birthday, Frank. Your many fans around the globe truly miss you.

Does your acting training help with your singing? Dominic: Absolutely. It’s about the words. Learning the words. Sinatra was a good actor. He used to study the lyrics before he worked on a song. Because he appreciated it. If you don’t love words, don’t be an actor. A lot of the singers today, they sing the music. You can’t sing the music. You have to sing the lyrics, make them count. I would tell them, “What are you singing about?” It’s very important.