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All or Nothing at All: A Life of Frank Sinatra ePub download

by Donald Clarke

  • Author: Donald Clarke
  • ISBN: 0880641819
  • ISBN13: 978-0880641814
  • ePub: 1272 kb | FB2: 1605 kb
  • Language: English
  • Category: Arts & Literature
  • Publisher: Fromm Intl; 1st Fromm International ed edition (September 1, 1997)
  • Pages: 290
  • Rating: 4.4/5
  • Votes: 827
  • Format: doc azw lrf docx
All or Nothing at All: A Life of Frank Sinatra ePub download

I love frank Sinatra, it's the manner of the way the book was written that made me give the book a . Clarke includes lots of info about all the competing bands and performers, especially those like Bing Crosby who went head-to-head with Frank

Clarke includes lots of info about all the competing bands and performers, especially those like Bing Crosby who went head-to-head with Frank. It turns out Frank was conditioned by his aggressive mother Dolly to consider every aspect of life as a power play – and that nothing could possibly be his fault, but rather the screw-ups of other people, who should promptly be punished.

by. Clarke, Donald, 1940-.

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Читать бесплатно книгу All or nothing at al. Персоналии: Синатра Фрэнк. Издательство: Pan Books (London). Clarke, Donald (1940-). All or nothing at all : a life of Frank Sinatra, . larke.

Читать бесплатно книгу All or nothing at all. A life of Frank Sinatra (Clarke . и другие произведения в разделе Каталог. Доступны электронные, печатные и аудиокниги, музыкальные произведения, фильмы. На сайте вы можете найти издание, заказать доставку или забронировать. Возможна доставка в удобную библиотеку. London : Pan Books, 1998. XII, 323 p. + 8 l. phot.

Chronicles the life and career of Frank Sinatra, from his beginnings in Hoboken, New Jersey, through his success as a pop singer and in Hollywood. I'm rereading it now. It is marvelous! 0. Report. An Excellent and Opinionated Book. com User, August 6, 2005.

All or Nothing at All" is a song composed in 1939 by Arthur Altman, with lyrics by Jack Lawrence

All or Nothing at All" is a song composed in 1939 by Arthur Altman, with lyrics by Jack Lawrence. Frank Sinatra's August 31, 1939 recording of the song became a huge hit in 1943, when it was reissued by Columbia Records during the 1942-44 musicians' strike. The record topped the Billboard charts in 1943 during a 21-week stay. A rendition of the song is used and sung by . Skunk disguised as Sinatra in Tex Avery's 1948 animated cartoon, Little 'Tinker.

Clarke's other books include Wishing On The Moon: The Life and Times of Billie Holiday (1994), The Rise And Fall Of Popular Music (1995), and All Or Nothing At All: A Life Of Frank Sinatra (1997). The Billie Holiday biography was reprinted by Da Capo Press in 2000 under the title Billie Holiday: Wishing On The Moon. Thompson, Ben (5 February 1995). BOOKS: THE RISE AND FALL OF POPULAR MUSIC by Donald Clarke". Retrieved 13 December 2017.

Find many great new & used options and get the best deals for All or Nothing at All . Good Condition: A book that has been read, but is in good condition.

Good Condition: A book that has been read, but is in good condition. Minimal damage to the book cover eg. scuff marks, but no holes or tears. If this is a hard cover, the dust jacket may be missing. Binding has minimal wear. The majority of pages are undamaged with some creasing or tearing, and pencil underlining of text, but this is minimal.

Album The Frank Sinatra Story in Music. And if I fell (I fell) under the spell of your call I would be, caught in the undertow So you see, I've got to say no, no All or nothing at all. All Or Nothing At All Lyrics. More on Genius. All Or Nothing At All" Track Info. Written By Frank Sinatra. Release Date May 30, 1966. Sampled In. All or Nothing at All by Bob Dylan. Cover By. All or Nothing at All by Diana Krall.

Chronicles the life and career of Frank Sinatra, from his beginnings in Hoboken, New Jersey, through his success as a pop singer and in Hollywood
Modifyn
great book!
Angana
A friend of ours who was no doubt a young adult during the big band era was so enthralled with this bio of Sinatra that he thought we would enjoy it as big fans of the “standards”-era music. Author Clarke took a little getting used-to as he has the annoying habit of stating his opinions as facts, especially his likes and dislikes for individual songs. But his research seems quite thorough, as his knowledgeable presentation particularly of Sinatra’s musical career seemed encyclopedic – perhaps a little less so about Frank's relationships with women, the “Mob”, and numerous politicians – which admittedly were the areas that offered less appeal to this reader.

To some extent, the book traces the gradual transfer of hit songs from the big bands to individual studio recordings and an emphasis on radio play, that latter turning into the “Payola” scandals of the 50’s. Clarke includes lots of info about all the competing bands and performers, especially those like Bing Crosby who went head-to-head with Frank.

It turns out Frank was conditioned by his aggressive mother Dolly to consider every aspect of life as a power play – and that nothing could possibly be his fault, but rather the screw-ups of other people, who should promptly be punished. This made for some somewhat distasteful reading about incidents and episodes that hardly warmed the famous celebrity’s lifestyle to our hearts.

As a piano player ourselves, it was interesting to hear so much about the development of many of the songs we still play. But we doubt that the book will have much appeal to younger readers, not to mention the generally unappealing facets of so much of Sinatra’s existence.
SiIеnt
Frank Sinatra was always a puzzle -- he sang like an angel, behaved like a jerk, and yet was apparently an extremely generous individual who kept his many charities secret.

Donald Clarke sits with all the contradictions of Sinatra, both musical and personal, without attempting to simplify them. The reviewer below who complained that the book is like an extended essay is right. Clarke does not attempt, in this relatively slim volume, to write the definitive biographical work. It is instead a shrewd, opinionated, and often funny review of the man and his music.

I'm not a FS fanatic, but I do own about 40 or 50 of his albums, which I guess makes me more than a casual fan. I almost always agreed with Clarke's musical judgements (although I think rather more of "Live at the Sands" than he does) and found a lot of value in the way he attempts to separate Sinatra's own bloviations from the facts (e.g. was Mitch Miller really responsible for how bad much of Sinatra's mid-50s work is? Not really, says Clarke, and gives reasons for this opinion).

This book is not a replacement for a full-length biography -- if you want the details on who slapped who first in every fight he had with Ava Gardner, you'll have to go elsewhere. It's also not a replacement for an annotated discography, although it made me hungry for one -- I thought I had a pretty good handle on Sinatra's recorded output, and Clarke made me realize there's a lot I don't know.

As for Clarke's writing style, I say "bravo." Judging by the impish grin he's wearing in the jacket photo, I'd say he's well aware of how provocative some of his comments are, but there's nothing arrogant about this book. Clarke has his opinions, and states them very strongly, but it's clear the reader is welcome to his or her own. If you're the sort of reader who is secure enough to enjoy strongly held and amusingly stated beliefs rather than be upset by them, I recommend this book most highly.
Justie
Five stars isn't enough.
I love FS and his music, but I am not a blind teenage hero worshipper. Part of the reason I'm a big, big, big FS fan is because he was REAL and even if he made a slew of the best recordings ever (period!) you can learn a lot about someone by getting the whole picture which includes some troublesome aspects of Sinatra's personality. If you consider the truly creative giants in all arts, many of them were not exactly what you would call well-adapted. Many of them are drug users or suicides at some point. Sinatra lived his art and his life like a man possessed, as I think Clarke mentions, and it may have been the man's sometimes "foolish fury" that made him the unequivocal entertainer of the century (to use the recordmakers' term.) A lot of the people FS ran into trouble with weren't all that righteous (the journalists, for example), and I think Clarke tells it like it was. If FS picked some bad fights, so be it; I have picked some bad fights in my life because I have one thing in common with Sinatra (definitely not my lousy voice!): I'm human and I'm flawed.
I don't buy inane music biographies that paint useless, glowing pictures of musicians. Such books are a complete waste of money.
This book is fascinating precisely because it frames Sinatra's music and life in terms of his era and his background -- the Dorsey era isn't just a nice bit of trivia, it really shaped FS' career for decades and it is astounding to look at how many Dorsey tunes were remade during the Columbia and Capitol years (and later!) It is immensely rewarding to listen to songs evolve from boyish ballads to swinging numbers over the years; American popular music came of age through Sinatra's microphone, and I think a careful reading of Clark brings this home -- be sure to have the recordings handy to play in the background while you read. His movies? I tend to like them more than I should because FS is in them, but seriously how many times can you watch the Rat Pack movies and enjoy them (once is pushing it...).
For what it's worth, I have found most of Mr. Clarke's comments regarding albums to be spot on. I own nearly 50 FS albums, and when I think about the ones I play most often they tend to coincide with albums Clarke portrays favorably.
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