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Sinatra: The Chairman, by James Kaplan
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Review
Praise for Sinatra: The Chairman:"Fifty pages from the end of Sinatra: The Chairman, the second and concluding volume of James Kaplan’s magisterial biography of Frank Sinatra, I guarantee you’ll begin to weep. Not because you’ve finished a 900-plus-page book (though you will feel relief), or because Kaplan so persistently details the ugly truth about Sinatra... No, you will weep over the death of a massive and unforgettable talent whose style of living helped define post-war America, and you will weep for an America that no longer exists, whether you lived during those years or just yearn for their return."—Sibbie O'Sullivan, The Washington Post"Kaplan's second volume is a hand-stitched tapestry with many, many recurring motifs... The remarkable thing is that Sinatra’s career is such a compelling transit of the 20th century in American entertainment and politics—and an early and prophetic blending of the two—that the endless Kaplan book is endlessly engaging. His Sinatra is a magnificent monster—imperious and callow, thuggish and tender, an exquisitely lonely man forever surrounded by a posse of hangers-on."—Edward Kosner, Wall Street Journal"Do not be deterred by the book’s heft. Sinatra: The Chairman is a riveting read—a juicy, painstakingly researched, excitingly written examination of a brilliant musician, an uneven and temperamental actor, and a charming, erratic, deeply flawed man."—Julia M. Klein, The Boston Globe“Definitive, and irresistibly engrossing…Kaplan is terrific dissecting Sinatra and the mob. His elucidation of Sinatra’s contribution to the shadowy Kennedy presidential campaign is exemplary. He is at his best reporting 'the less than sublime goings-on,' as he terms them, that “always in Frank’s life…bracketed sublime music.”—Barry Singer, USA Today"The degree to which that brutality is from reality and not just comic mythology in Vegas lounges can be read about in full glorious technicolor detail in one of the huge, and hugely compelling, books of 2015, Sinatra: The Chairman, the second volume of James Kaplan’s wildly readable doorstop biography that began with the near-definitive Frank: The Voice.”—Jeff Simon, The Buffalo News"Hugely readable, vastly entertaining, a page-turner.”—Adam Gopnik, The New Yorker"I think James Kaplan's two volume set is the definitive word on Frank Sinatra, as definitive as any biography of any public figure can be. It's jammed with something juicy on almost every page. It has been written with integrity and affection. It neither sugar coats or demonizes. It presents what all stars are—ordinary mortals with ordinary cares, writ large by fame, and in Sinatra's case, a peerless talent. Sinatra concocted a towering life on the American landscape."—Liz Smith"Such a book stands or falls on its author's storytelling ability. In that regard, Kaplan does admirably, with a sense of momentum and a fair, balanced tone."—James Gavin, Newsday“In the first volume of his Sinatra biography…James Kaplan provided a gripping, novelistic account of the singer’s roots and the development of his craft, deftly mapping his assimilation of early influences and his discovery of his own voice. “Sinatra: The Chairman,” the concluding volume to that biography, does a similarly nimble job of tracing the singer’s continued rise to international fame, and credibly explicates the alchemy behind the singer’s collaboration with Nelson Riddle and their amazing achievement during the Capitol Records years with masterpieces like “Frank Sinatra Sings for Only the Lonely” and “Songs for Swingin’ Lovers!”—Michiko Kakutani, The New York Times"Engaging to the point of addiction, The Chairman provides a spirited romp through the prime times of Sinatraland and the September of his years. It also reminds us why Kaplan grew enchanted enough with Sinatra to spend 10 years writing about him… But oh, that voice. It made up for so much. It cut through the clutter of everything else. Before Sinatra, there was really no such thing as a standard. Before Sinatra, you’d be hard-pressed to associate the Great American Songbook with any particular singer. Such was his impact. So bring on the tributes. And start with The Chairman.”—Chris Vognar, The Dallas Morning News“The book is detailed enough about Sinatra’s music, movies and complicated personal life to satisfy completists, but Kaplan always has his eye on the big picture.”—Lloyd Sachs, Detroit News“Kaplan’s Frank came out in 2010—do we need 900 more pages on Ol’ Blue Eyes? This intriguing bio, timed to his 100th birthday, will convince you we do.”—People Magazine“If you ever wanted to know exactly what Frank Sinatra was doing on every single day of his life, Kaplan is your man. The Chairman is rich with fascinating detail, much of which I’d never heard…. When Kaplan describes Sinatra the singer, The Chairman soars: ‘a flawless legato, perfect diction, and graceful phrasing based on a total mastery of breath control.’”—Allen Barra, The Daily Beast.com“Scrupulous, entertainingly eye-opening…You’ll dig Kaplan’s highbrow down-low of Ol’ Blue Eyes…during his controversial and powerful reign in the 1950s and ‘60s.”—Elle Magazine"...[R]emarkably insightful, gracefully, often eloquently, written history of popular music and celebrity culture in twentieth-century America—all viewed through the lens of an iconic singer and undervalued actor whose wildly contradictory personality and tempestuous personal life built the legend but detracted from the man’s genius as an artist.... As astute in his psychological analysis as in his music criticism, Kaplan makes sense of the singer’s insistence on taking way too many encores by noting Sinatra’s need forconstant movement: 'He was like a whole body case of restless leg syndrome.' That restlessness finally shook itself out, but, along the way, it drove a skinny kid from Hoboken to live a life that, as Kaplan concludes, 'touched almost every aspect of American culture in the twentieth century.' That’s a bigstatement, but this big book makes us believe it."—Booklist, starred review "The great singer-actor contains multitudes in this vast, engrossing biography of Frank Sinatra’s mature years... Kaplan’s sympathetic but unflinching narrative revels in the entertainer’s scandalous private life while offering rapt, insightful appreciations of his sublime recording and stage performances. It situates him and his Rat Pack at the Vegas headquarters of a postwar American culture that yoked mobsters and prostitutes to Kennedys and other luminaries. His Sinatra is often appalling, sometimes inspiring, and always a fascinating icon of an energetic, resonant, yet doomed style of masculinity."—Publishers Weekly, starred review "The meatiness of the material justifies the length of the author's second (and concluding) volume of his biography of Frank Sinatra (1915-1998). Just as his subject matured into a far more compelling artist than the one who had elicited squeals from bobby-soxers, the follow-up to Kaplan's Frank: The Voice (2010) is far more substantial than that initial volume.... An appropriately big book for an oversized artistic presence."—Kirkus Reviews, starred review
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About the Author
JAMES KAPLAN’s essays, stories, reviews, and profiles have appeared in numerous magazines, including The New Yorker, The New York Times Magazine, Vanity Fair, Esquire, and New York. His novels include Pearl’s Progress and Two Guys from Verona, a New York Times Notable Book for 1998. His nonfiction works include The Airport, You Cannot Be Serious (co-authored with John McEnroe), Dean & Me: A Love Story (with Jerry Lewis), and the first volume of his definitive biography of Frank Sinatra, Frank: The Voice. He lives in Westchester, New York, with his wife and three sons.
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Product details
Hardcover: 992 pages
Publisher: Doubleday; First Edition edition (October 27, 2015)
Language: English
ISBN-10: 0385535392
ISBN-13: 978-0385535397
Product Dimensions:
6.5 x 2 x 9.6 inches
Shipping Weight: 3 pounds (View shipping rates and policies)
Average Customer Review:
4.5 out of 5 stars
272 customer reviews
Amazon Best Sellers Rank:
#227,499 in Books (See Top 100 in Books)
With almost nine hundred pages of actual text not to mention an extensive bibliography and notes, this is probably the closest to a definitive biography of the singer we’ll ever see. This is especially true since so many quoted sources were from live interviews with people who knew Sinatra, some tangentially, others deeply. As time inevitably passes, those sources can be expected to shuffle off this mortal coil. The bio also quotes extensively from other Sinatra books to include the tell-all from his fired valet of many years, George Jacobs.My most important impression from the book is the very serious nature of Sinatra’s musicianship. He cared deeply about the music that he made, worked unceasingly to put together the best material, musicians, arrangers, and producers, and labored mightily to produce the finest possible version of each and every song, not hesitating to do over twenty takes in one session to make sure every note, either from his throat or his accompanists, was absolutely perfect. This could lead to outright tyranny on Sinatra’s part (one favorite stunt was to fix an erring musician with an icy glare and ask “So, where you working next week?â€), but I and millions of others think that the results were worth it, sheer musical magic. Yes, I’m a gushing fan of Sinatra as a singer, what do you expect? Lots of intricate detail is provided that will fascinate and delight Sinatra musicologists with good capsule bios and descriptions of some of his most important collaborators, Bill Miller, Jimmy Van Heusen, Nelson Riddle, et al.And then, and then, there’s the dreary, miserable side of Sinatra. There’s really no way around it, not if you’re realistic: the guy was just horrible. From loyal friends dumped for no real reason to lovers and wives abused and reviled to just perfectly vile public scenes including frequent violence that absolutely nobody should be allowed to get away with, Sinatra was simply the worst. Kaplan discusses one incident where circumstances strongly suggest that Sinatra had a man murdered by having his car run off the road to repay him for the unpardonable affront of objecting when Sinatra came on to his wife. One of the most memorable incidents is the massive public tantrum Sinatra threw at the Sands when they cut off his gambling credit, a freakout that culminated with the casino manager punching the caps off his front teeth after Sinatra ethnically reviled him (couldn’t have happened to a nicer guy).Another depressing aspect is the wearying sameness of Sinatra’s private life. He just never really grew as a human being after a certain point. Each night the same drunken revels until the dawn with the same gang of hangers-on and made guys, and always the same stories repeated ad infinitum. It’s no wonder some people (the ones with some self-respect) finally got tired of Sinatra and wanted nothing to do with him.All of this is true and still, there’s Sinatra’s music, something that will endure long after his multiple villainies in life. I hope readers don’t get a negative impression of the book based on the previous discussion. Kaplan tries his hardest to give an unbiased portrait of Sinatra in full and in the round, warts and all, and succeeds admirably. Anyone who likes Sinatra’s music, gets a kick from reading about Old Hollywood, or would just like to learn some interesting details about American history (there’s a good discussion of the Kennedys and their relationships with the man) should read this book. I just can’t recommend it highly enough.
This has been called the best biography ever written on Frank Sinatra, and it most likely is. Nearly 2,000 pages when combined, the two volumes by James Kaplan, this being volume 2, covers an extraordinary life in much detail, mixing music history, social commentary, movie lore, and gossip. Some of it reads cheap; some of it profound.But what is open for serious critical debate is if this impressive work is actually a history book. It relies on too many secondary sources, on tabloid facts, and debatable musical insights of the non-musician author. For example, Kitty Kelly should get co-author credits, gossip columnists are quoted and relied upon for contemporary assertions, songs are discredited with criticisms that Sinatra didn't connect with them, and performances are repeatedly singled out for being off key, always flat. Didn't connect with Send in the Clowns? Watch the performance now on DVD at Caesar's Palace. Flat on Come Back to Me? It's a minor dissident chording that ends the song and Sinatra nails his note.Credit is due for the author's research. It must have been exhausting. He did it all by himself (I'm tempted to write His Way). He catalogues so very much of the work of Sinatra, which I greatly appreciate. When he discusses the artistic value of that work, more so on the music than the movies for me, I cringed and disagreed and was left wanting to ask the author "Why should your likes and dislikes of songs and singing matter in a biography?" When it comes to music, Kaplan is a painter - literally. He studied painting in college and after.There is so much gangster talk, much more than my attention span could cover. But for some, that might be great news. Kaplan does a lot of heavy lifting preserving all the connections, casino contracts, and favors owed. There are also a lot women. Ol' Blue Eyes' back is seemingly at work every night with women he starred with, drank with, talked with, or paid for. There is also antisocial behavior in such frequency and depth that the reader is left gasping in disbelief and, for the romantics and idealists, in deep disappointment.What this book does very well is describe the remarkable output that Sinatra accomplished in the late 50s and 60s in every possible expression of his art and of his personality. The drama that was his life and his unique contribution to the American social and artistic history of the mid and latter twentieth century deserves this book's breadth and reach. And clocking in at just under a thousand pages, the following criticism may seem strange: this book is too short.After writing in excruciating detail on the 50s and 60s, with the hoodlums, dames, casinos, fights, fits, friends, feuds, and the affliction that was Ava, Kaplan races to the finish. In the dust are many interesting a worthy topics which would have been supported by first-hand accounts, primary sources that the entire book is light on. For example, what about Frank Jr. and his developing relationship with his father, including his turbulent stint as his music director. Frank Jr. disappears very quickly in the tale soon after he reappeared upon being kidnapped. Nowhere is there serious discussions on the way Sinatra changed his singing in his old age, relying upon his knuckleball, as so perfectly described elsewhere by Jonathan Schwartz. The Future, the third album of the Trilogy release, by far the most controversial recording ever offered by Sinatra, is not mentioned. LA is My Lady, the reunion of Sinatra with Quincy Jones, is treated as if it never happened. And the feud, still ongoing both in commercial interests and most likely personal ones as well, between the Sinatra children and Mrs. Sinatra IV is left unplumbed.Perhaps the story is just too big to be fully told in a format that is marketable. Churchill's official biography was 8 volumes. Sinatra's could easily have been three. But with what we have in The Chairman, we should be glad. It is a noteworthy and in many ways a praiseworthy try at capturing what drove this artist into his grandeur and, apparently, out of his mind.
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