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Rat Pack Confidential
Shawn Levy


The first biography of the Rat Pack – Frank Sinatra, Sammy Davis Jr., Dean Martin, Peter Lawford, Joey Bishop et al – the original Swingers. Brilliant and beautifully written story of their rise and fall, and their connections with the Kennedys and the Mafia.This edition does not include illustrations.They alit in Las Vegas for a month to make a movie and play a historic nightclub gig they called the Summit; they hit Miami, the Utah desert, Palm Springs, Chicago, Atlantic City, Beverly Hills, Hollywood back lots, illegal gambling dens, saloons, yachts, private jets, the White House itself.It was sauce and vinegar and eau de cologne and sour mash whiskey and gin and smoke and perfume and silk and neon and skinny lapels and tail fins and rockets to the sky.It was swinging and sighing and being a sharpie, it was cutting a figure and digging a scene.It was Frank and Sammy Davis Jr. and Dean Martin and Peter Lawford for a while and Joey Bishop when they asked him and Jack Kennedy and Sam Giancana and tables full of cronies and who knew how many broads.It was the ultimate spasm of traditional showbiz – both the last and the most of its kind.It was the Rat Pack.It was beautiful.‘Rat Pack Confidential’ – you’re never far from a cocktail, a swingin’ affair and a fist-fight.









RAT PACK CONFIDENTIAL

SHAWN LEVY


Frank, Dean, Sammy, Peter, Joey & the Last Great Showbiz Party









Dedication (#ubd29f348-a4c5-51a4-8764-9add2b725625)


For my mom, Mickie Levy, who arranged for me to see Frank at the 500 Club when I was still in Utero …




Contents


Cover (#uca872c62-4cb1-5292-82a5-a3912e156da3)

Title Page (#uf6896483-6037-5392-afd9-cac509b9b6d6)

Dedication (#u6acac2b5-80c0-57fc-b245-5b54cc87a2b2)

Part 1 (#u7fbbf169-4cfa-5f9d-a59d-2235c150ad06)

Part 2 (#u6ed12386-4f9a-5522-b114-06ef742407c3)

Slacksey o’brien (#u04aad45f-0f04-512e-8cac-d52ad87b02e7)

105 percent (#u07e0658f-d078-5b59-aacb-809a6fe74da5)

Sonny boy (#u151a768b-4190-5a89-b95e-bbd6682ef3a0)

America’s quest (#u1a21013c-f3c0-532a-800a-4c84761630ae)

I was told to come here (#u0bf245a9-19a7-5e07-a95b-ee78fdf22cc0)

I‘m not going to stooge for anyone (#litres_trial_promo)

Part 3 (#litres_trial_promo)

Much, much, much (#litres_trial_promo)

Some things you don’t want to know (#litres_trial_promo)

The only singer (#litres_trial_promo)

Worthless bums and whores (#litres_trial_promo)

The place was on fire (#litres_trial_promo)

Almost the end of frankie-boy (#litres_trial_promo)

The most exciting assignment of my life (#litres_trial_promo)

What they were really being paid for (#litres_trial_promo)

What we do is a rib (#litres_trial_promo)

I feel dirty (#litres_trial_promo)

I’m a whore for my music (#litres_trial_promo)

The Frank situation (#litres_trial_promo)

One of these days it’ll come out (#litres_trial_promo)

You and I will always be friends (#litres_trial_promo)

It always ended up as a threat (#litres_trial_promo)

He’s needed this for years (#litres_trial_promo)

Say goodbye (#litres_trial_promo)

Part 4 (#litres_trial_promo)

I’ve got five good years left (#litres_trial_promo)

I don’t know what hit me (#litres_trial_promo)

‘Scuse me while I disappear (#litres_trial_promo)

I wanna go home (#litres_trial_promo)

Part 5 (#litres_trial_promo)

Not a moment too soon (#litres_trial_promo)

Adult male human behavior (#litres_trial_promo)

Bibliography (#litres_trial_promo)

Index (#litres_trial_promo)

Acknowledgments (#litres_trial_promo)

About the Author (#litres_trial_promo)

Also by the Author (#litres_trial_promo)

Copyright (#litres_trial_promo)

About the Publisher (#litres_trial_promo)



Part 1 (#ulink_686277cd-529e-5c56-ab43-8ae4154535ca)


This was Frank’s baby.

Onstage, Dean, singing almost straight, then pissing away anything like real feeling with jokes.

In the wings, Sammy, Peter, Joey.

Out front, a mob scene: Marilyn, Little Caesar, Kirk, Shirl, Mr. Benny, that Swedish kid that Sammy was so crazy for, that senator and his tubby kid brother, a few broads without addresses, a few guys without real names …

Famous faces at ringside for the cameras, infamous ones in the shadows in the back, plus a hundred or so civilians as bait for the rest of the world—suckers with money to blow and dames to blow it with them until it ran out.

In the casino, every schmuck that couldn’t pay or beg or muscle his way in was betting his rent money just to feel as big as the ones who could.

The joint was packed; the rest of town might as well have been dark.

And for what?

A movie, a party, a floating crap game, a day’s work, a hustle, a joke: They’d make millions and all they had to do was show up, have a good time, pretend to give a damn, and, almost as an afterthought, sing.

Sometimes it seemed like Dean had the right idea: “You wanna hear the whole song, buy the record …”

But there was something in the music, wasn’t there? With the right band and the right number, it was like flying—and like you could drag everybody up there with you.

So let Dean do jokes, and Sammy—Sammy would start numbers and they’d stomp all over them and he’d like it.

But when Frank sang, it would be straight. It could be New Year’s Eve, the very stroke of midnight, the middle of Times Square, and he would stop time, stop their hearts beating, and remind them where the power was.

It was in his voice.

It was his.

When they finally had enough and dropped the curtain, they would wander out into the casino.

Some act’d be up there on the little stage in the lounge, and maybe they’d go over and screw around; Sammy liked that the best—more eyes on him, always more eyes.

What Dean and Frank liked was dealing. They had points in the joint, and who was gonna stop them from horsing around at a table: It was their money, right?

Dean actually knew what he was doing. He’d push aside a blackjack dealer and do a little fancy shuffling and start dealing around the layout: his rules.

“You got five? You hold. That’s a winner.

“Nineteen? Hit. Twenty-six? Another winner.”

He’d shovel out chips and make sure that everyone took care of the real dealer, who’d stand there looking nervous over at big Carl Cohen, the casino manager, who normally didn’t go for clowning.

But Carl would be quiet. He’d lose a couple hundred during this monkey show, sure, but he’d get it all back and more: There were crowds five or ten deep just waiting to get at the tables. Besides, Dean was like family; he’d worked sneak joints back in Ohio before the war with Carl’s kid brother. The big guy could afford to be a little bit indulgent.

Which wasn’t the case with Lewis Milestone, the poor director saddled with making a movie in the middle of it. Every morning he came to work in an amusement park that his boss owned and woke his boss up and tried to get him to jump through hoops for a few hours, and you had to look deep into his dark old eyes to see what he really thought about it.

This movie wasn’t some work of art, this wasn’t All Quiet on the Western Front with poetic butterflies and mud and a moral. This was a sure thing, a money machine, a way to bring the party to the people who could only read about it in the papers. Hell, the only reason they hired him in the first place was that Jack Warner insisted on a pro and Peter guaranteed that the old guy—who was making Lassie shows, for chrissakes—would do whatever they told him.

But, still, they didn’t want to make a career out of it. So come the morning, they let Millie run them around in circles for a little bit, even if they hadn’t gone to sleep yet on account of last night was, as they liked to say, a gasser.

Or at least everyone but Frank let him do it. Frank was the boss, after all, and picture or no picture, he was going to work when he felt like it. He used to say that he only had one take in him, like he was an artist about it. The truth was he only had one take he gave a shit about, and if they wanted that one in the movie, then they’d have to wait until he was ready to give it.

So Sammy, a Salty Dog or two down the hatch, would show up on the set at 9:00 or 10:00 in the morning, and Dean and Peter would show up at 9:00 or 10:00 in the morning, and Joey—who was lucky to be here at all, let’s face it—would be there at 7:00 or whenever they said so, showered and alert.

But Frank: 4:30 in the afternoon, maybe 5:00; and twice, twice, before lunch; and most days not at all.

They worked on the picture twenty-five days in Vegas; Frank showed up nine.

Oh, it was his show, all right.

In the early evenings, between a few hours of the movie and going back out onstage, the steam room. Frank had it built—the first one on the Strip—and when he was in town it was off limits to anyone else. They’d drink in there and make phone calls and give each other the needle: the only time they could all be together and alone.

Some other people were allowed in: the ultimate VIP room. This Rickles would take these incredible liberties with Frank and Frank would kill himself. Sammy would take one humiliation after another—“You can’t wear a white towel. Here’s a brown towel for you!”—and act like he was killing himself. Actors from the movie. Business guys. Other guys who didn’t say who they were. This was an inner inner circle. Men capable of all sorts of acts of power would sit like convent girls just for the pleasure of having been allowed inside. Compared to this, the show and the movie were, well, for anyone.

But not just anyone was welcome. This was a group that Frank handpicked, gliding through the world, sizing people up, then giving them the golden tap on the shoulder and bringing them in.

Talent, money, power: None of these was quite enough. You had to have something Frank had, or something that he wanted to have more of. You were a cool, leonine Italian, or a dazzling black ball of fire, or a British sophisticate with powerful relatives, or a Jewish wiseguy who could brush off the world with a shrug. You were an Irish millionaire senator or a psychotic Mafia lord. You were the acme, the original, one of a kind, and Frank wanted you up close to study. He gathered everyone around him and sat in the middle and saw little parts of himself, little things he could fix or steal—Dr. Frankenstein building a hip new kind of superman.

Frankenstein, though, or Nosferatu? Because, though everyone got rich, got famous, got laid, Frank got more. They made movies; Frank was the producer. They cut records; Frank owned the company. They played Vegas and Tahoe; it was Frank’s hotel. Everyone did good work; Frank was Michelangelo.

They called him the Leader; they asked him to be their best man; they named their kids after him, their daughters, even. And when it all spun out of control, when the precious, delicate balance came undone, when the merry-go-round stopped with a jerk, everyone got thrown on their ass—or worse—except Frank, who stood there in the middle, unfazed.

Divorce, drugs, bankruptcy, death, irrelevancy: Every single one of them took a major hit.

Frank didn’t get so much as a scratch.

But that would all be later. That would be after the golden time, when, for a while, no matter what they did, it would sell. No matter how many broads, no matter how much booze, no matter who they got mad at or cozied up to, it had reached a point where Frank could simply do no wrong.

The press knew the story. They didn’t write it, but they knew it. They didn’t rat him out because they needed him more than he needed them, and except for a few he’d chosen as whipping boys, they lined up to do whatever he wanted them to do.

He was drinking with this one or that one or fucking this one or that one—who was gonna talk?

And anyone he wanted around him, the same thing: You hiding from the G? You don’t need to hide around Frank. You got a wife back home who reads the gossip page? Frank’ll see that you’re not in it. You running for president? Frank’ll throw a little juice your way and make sure everything looks on the up-and-up.

Up close, the whole thing was not to be believed. You wanna talk about rebellion? Those rock ’n’ roll punks had no idea what a real rebel did in private. They couldn’t begin to understand the power and the appetites and how little you had to care. La Dolce Vita nothing: This bunch made Nero look like a Cub Scout.

But outside, from far away, it didn’t look like ego or license or indulgence. It looked like a big, beautiful party in the desert, with laughs and music and cars and clothes and incredible women, and no one ever ran out of money, and no one ever got tired, and no one had to answer to anyone, and no one ever grew old, and you would just die unless you could be there—even if the closest you ever got was a movie theater or a record player.

Wherever they went, they drew a crowd. And not just yokels, but Friars and sex symbols and made men and the president himself. They made Vegas Vegas, Miami Miami, and Palm Springs Palm Springs. And they made and broke people like they were pieces of toast.

For a while, everything took a backseat. For a while, the whole world was like a gyroscope, spinning so fast that it looked like it was standing still, with Frank and his cronies smack-dab in the middle of it, smiling at you, making you think you could do anything.

The world wasn’t big enough for them to bother with so they made it bigger and took it over.

And instead of resenting it, people loved it.

And there was never anything like it before or since.

Between 1957, when his hero Humphrey Bogart died, and 1963, when his friend Jack Kennedy died, Frank Sinatra was the biggest star in all of showbiz.

There was Elvis, of course, and John Wayne and Danny Thomas and Ray Charles and Marlon Brando and Bob Hope and Pat Boone and Tony Curtis and Frankie Avalon and Jerry Lewis and a whole lot of other people who were Kings of Pop, or certain quadrants of it, at the time.

But nobody was so sheerly supreme as Frank as an icon, artist, or draw, none held his mighty sway over the mass imagination, and none was so ascendant for so long.

With his stunning LPs for Capitol Records—Songs for Siwingin’ Lovers, In the Wee Small Hours, Come Fly with Me, Only the Lonely, a good dozen more—he was releasing classics at the rate of several a year and moving big numbers in the record stores.

With a string of commercial hit movies—and good ones, frequently, like The Man with the Golden Arm, The Joker is Wild, High Society, and the Oscar-winning From Here to Eternity—he ranked among the era’s top-grossing movie stars.

He had regular specials on television (though rarely very good, they always drew well); he was the top act in nightclubs from Miami to Chicago to Las Vegas; he performed with ceremonious duty at charity events, Academy Award telecasts—all the orthodox showbiz sacraments.

Arguably no single entertainer had ever held the top spot in so many media for so long—Bing Crosby, maybe, back in radio days.

No, Frank was It.

And It in ways that nobody ever had been.

Because as big a deal to the popular American mind as Frank’s considerable musical and cinematic lives was his private life.

Flitting from gorgeous bedmate to gorgeous bedmate, rubbing elbows with tough guys, throwing punches, pounding back whiskey, romancing in a cigarette’s glow, he was the envy of every American male who had left off worshiping Mickey Mantle and Ted Williams for more grown-up pursuits: the rakish kid brother-in-law they’d all secretly give their left arms to trade places with.

There was nothing, it seemed to the average working stiff, that Frank didn’t have.

But Frankie—and who could have guessed it?—didn’t like to be by himself: He got antsy. He liked to have entourages of like-minded he-men around him, guys to drink and schmooze and play cards and go to the fights and hit the bars with: chums.

He wanted an accumulation of bosom fellows around him, and he thought it would be wonderful if they could work together. He began to play with his buddies in nightclubs, to make films with them, to pop in on their TV shows and invite them onto his.

He started smallish—a picture with one or two here, a spontaneous walk-on there—but then his horizons expanded. Various threads in his personal and professional lives began to merge in ways that no one would ever have predicted: his affectations toward politics and the Mafia, for instance, his ownership of film and record companies and shares in casinos, his friends and debtors and vassals.

At the end of 1959, he concocted an intoxicating brew of money, power, talent, romance, gall, a nexus of showbiz and muscle, politics and glamour, a brilliant netherworld spinning at 33⅓ with himself stock-still at the center, conducting it all with his mind.

They alit in Las Vegas for a month to make a movie and play a historic nightclub gig that they called the Summit; they hit Miami, the Utah desert, Palm Springs, Chicago, Atlantic City, Beverly Hills, Hollywood back lots, illegal gambling dens, saloons, yachts, private jets, the White House itself.

It was what a good portion of America was about for a few remarkable years.

It was sauce and vinegar and eau de cologne and sour mash whiskey and gin and smoke and perfume and silk and neon and skinny lapels and tail fins and rockets to the sky.

It was swinging and sighing and being a sharpie, it was cutting a figure and digging a scene.

It was Frank and Sammy Davis Jr. and Dean Martin and Peter Lawford for a while and Joey Bishop when they asked him and Jack Kennedy and Sam Giancana and tables full of cronies and who knew how many broads.

It was the ultimate spasm of traditional showbiz—both the last and the most of its kind.

It was the high point of their lives and a midlife crisis.

It was the acme of the American Century and a venal, rancid, ugly sham.

It was the Rat Pack.

It was beautiful.



Part 2 (#ulink_d894c825-d124-59b5-a711-ed8acfe1b654)




Slacksey o’brien (#ulink_cc3908a7-9993-511e-96c6-4dcd910f8d60)


Grow up with immigrant parents and a last name that no one can pronounce right, with an ear mangled by a midwife’s forceps and no meat on your slight bones, with no brothers or sisters, and a mother always on the go, and a queer little dream that you can win the whole world over with a song; grow up with all this, and then win wealth and fame and acclaim and power—the whole world and more—and you’ll likely find no embarrassment in living as if your every action was the stuff of legend.

Throughout his life, Frank would be boosted in his perception that his progress through the world was of great import, and if he ever lapsed into doubt, there would always be someone around to reassure him: a wife, a dame, a publicist, a thumbbreaker, a daughter, a fan, even, though not quite so reliably, the press. Frank could count on being spiffed-up, spoiled, spirited out of jams; he expected it of life. And it was an expectation born not in the flush of his success but in the earliest days of his youth: Of all the hangers-on, sycophants, yes-men, and boosters, his mother was first and foremost.

There was undeniable steel in Natalie Garavante, the little pug-faced Genoese firebrand known to everyone in Guinea Town, Hoboken, as Dolly. She prodded the men around her to let her through doors that she herself would’ve battered down in a world that cut women an even break. She had a stunningly foul mouth: “Her favorite expression was ‘son of a bitch bastard,’” recalled a mayor of Hoboken who knew her in his youth; a mob lawyer who met her in the 1960s compared her way with profanity favorably to Jimmy Hoffa’s. She made the slow-moving Italian men around her jump at her command, and she carried enough clout to get political bosses and city officials to do the same. She was a shit-stirrer and a hollerer; she worked hard and she took no prisoners; she spoke simpatico with the people in the streets and defied the men of power. If she’d’ve been born a boy, she might’ve been an Italo-American Huey Long.

But she was a woman and it was the 1910s—and an Italian neighborhood at that—and so she had to find a husband, and she settled on a handsome, illiterate kid from the neighborhood, a guy who couldn’t hold a steady job but cut a dashing figure in the boxing ring. Dolly’s brothers were boxers, which was probably how she came to meet Marty O’Brien, a stout, quiet little guy with tattoos on his arms. Maybe she first took him for Irish, which would’ve appealed to her social-climbing instincts; soon enough, she learned he wasn’t an O’Brien but a Sinatra, but that didn’t make him any less attractive. He might’ve been an unfinished project, but Dolly was sure she could make something of him. Despite her parents’ fears of a layabout Sicilian for a son-in-law, they eloped and married in a civil ceremony. A year and a half later, she bore their first and only child.

Later on, he would try to depict himself as some kind of Dead End Kid turned good, but the truth was that Frank was always plushly seen to. In a neighborhood where the men worked menial jobs and the women raised broods of five, eight, ten brats, only-child Frank had two working parents and a surfeit of candy, toys, bikes, clothes. The homes in which he grew up were the finest to which Italians in Hoboken could aspire. A lot of the Sinatras’ neighbors on the tony streets on which they lived didn’t even know they were Italian: Marty ran a popular speakeasy under his boxing name, and Dolly routinely introduced herself as Mrs. O’Brien; when Frank’s buddies wanted to tease him about his Little Lord Fauntleroy wardrobe—he had his own charge account at Geismer’s department store—-they dubbed him Slacksey O’Brien. They were a family on the rise; a local newspaper society page reported on a New Year’s Eve party Dolly threw after they bought a grand home at the height of the Depression.

By then, Frank had revealed himself as a perfect mix of his parents’ temperaments. Hotheaded and ambitious on the one hand, he liked to loaf and schmooze and was an indifferent student on the other. For all that he inherited from his parents, he was, typically, embarrassed by them as well. Marty was no world-beater, everybody knew that, and he seemed pronouncedly meek even among his friends and colleagues; Dolly was outrageous, flamboyant, earthy, loud, an unignorable commotion whose affectations and ambitions grated on as many people as they inspired. Worse yet, she was the neighborhood abortionist, known to all the Italian girls as the person to turn to when they were in trouble; Frank’s ears would turn red whenever he heard people talk about his mother the “rabbit catcher.” Like everyone else, he was attracted to Dolly’s exuberance, but like Marty and the other men in the family, he feared her. “She was a pisser,” he’d say later, “but she scared the shit outta me. Never knew what she’d hate that I’d do.”

As if to erase the shame Dolly put him through—the dudish threads, the mortifying secret work, the rowdy spectacle she made of herself on nights out with the girls—Frank seemed, at first, to take after Marty. He dropped out of school; he couldn’t keep even a menial job; and he took up a fancy even less promising than Marty’s boxing: Smitten with Bing Crosby, he wanted to be a singer.

At the sight of her boy sporting a yachting cap and crooning in a mirror, Dolly was, as her parents had been by Marty, disgusted, but the idea of denying her boy something that he wanted was worse. She bought him a spiffy electric P.A. system and convinced acquaintances to let him sing in their saloons and restaurants; eventually, she used her clout to get him a job chauffeuring a rising local trio, the Three Flashes, who were preparing to make a few movie shorts for Major Bowes, the era’s great promoter of amateur showbiz talent; with his mom’s backing, Frank quickly rose from driver to jester to full-fledged singer in the group.

The older guys in the act, which Bowes redubbed the Hoboken Four, didn’t care much for the mama’s boy in the midst, even less so when Frank’s singing improved and his solos became a centerpiece of the show. During a several-month nationwide tour as part of one of Bowes’s traveling road shows, they began picking on the skinny kid, beating him up when they felt he needed to be taken down a peg. Frank quit and returned to Hoboken—where Dolly had salted the press with news of his successes.

Three years of scattered, aimless work followed, then a steady job—singing waiter at the Rustic Cabin in Englewood Cliffs, a roadhouse which had a broadcast wire to New York’s powerful WNEW radio station. In June 1939, bandleader Harry James heard Frank on the radio and drove out to see whose voice that was. Shazam: Frank was in. James signed him, they hit the road and cut some records, and Frank got a little bit of notice. In December, Tommy Dorsey auditioned him and he left James with a handclasp and best wishes.

This wasn’t just the call of Lady Luck or the reward of sheer ambition. Somewhere sometime in there, a miracle bloomed. Frank’s voice went from pleasant to stunning: a beautiful, tender instrument possessed of uncanny rhythmic sense and breath control, one of the great talents of the century, a gift no more explicable than those of Joyce and Picasso, recognizable as such even in its juvenile state. Everyone who heard him for the first time was staggered.

As a member of the Dorsey orchestra, Frank became famous: hit records, magazine covers, appearances in movies, flattering press. Like he’d learned from Dolly, he milked it, aggressively courting the press, disc jockeys, anyone he thought could boost his career. He spent more than he earned on his wardrobe alone (he was so finicky about his personal cleanliness that his bandmates with Dorsey nicknamed him Lady Macbeth). Within three years, he was convinced that Dorsey was holding him back from a career that would rival Crosby’s, and he left—after months of bitter, petty infighting, a lucrative settlement, and a grudging goodbye.

Suddenly, everything: Frank signed to play the Paramount Theater in Times Square as an “extra added attraction” with the popular Benny Goodman orchestra; when Goodman introduced Frank, the response from the packed theater was so volcanic that he asked his band, “What the fuck was that?” Within a few months, the whole world would know. Spontaneously, Frank had become the beloved of a generation of wild-eyed fans—young girls, mostly—who made him a teen idol decades before anyone ever thought to manufacture such a thing.

Boosted by the devilishly clever press agent George Evans, Frank became bigger than Crosby or Vallee or Caruso—the biggest thing ever in showbiz, in fact. There was a core of critics and musicians among the cognoscenti who admired his artistry (James Agee spoke fondly of his “weird, fleeting resemblances to Lincoln”), but the wellspring was the kids—the bobby-soxers, as they were named for an affectation of footwear. Sinatratics they called themselves, forming cultish cells in devotion to their new god: the Slaves of Sinatra, the Sighing Society of Sinatra Swooners, the Flatbush Girls Who Would Lay Down Their Lives for Frank Sinatra, the Frank Sinatra Fan and Mahjong Club.

These daughters of flappers were quick to connect the longing in Frank’s voice with their own longings, his quavery presence with the absent boys who were off fighting the Hun and the Nip (Frank was 4-F: punctured eardrum). Odd as it may have seemed to everyone in the business, the wiseass runt with the heavenly voice was some kind of sex symbol. (And he’d always be one: For a half-century, Frank was one of the ways America made love, quite often the most popular; he was able to get away with anything because he hit people in their most personal spots.)

By the late fifties, by Rat Pack time, when his audience had grown up, Frank could be as sexy as he felt, but in the first blush of his fame, he had, like all teen idols, to be officially Off Limits. Conveniently, he had a cozy domestic life to play up: He’d been married to a girl-next-door type since 1939; by 1944, they had two kids, one named after each of them: Little Nancy and Frankie Jr.

For George Evans—and for Frank’s many important employers: Columbia Records, CBS radio, MGM, Lucky Strike—this was a perfect setup: a talented, massively popular young guy with a solid family and a wholesome aspect. But Frank seemed hell-bent on screwing it up. There was that entourage—big, unlikely guys, boxing writers, gamblers, songwriters buttering him up—and there were women and there was this habit of snapping back at the press and there was all the politics: Bad enough he was 4-F; did he have to sing “Ol’ Man River” and break bread with Eleanor Roosevelt? Evans spent the better part of the forties covering Frank’s ass, cozying up to some columnists and scratching and clawing at others while his client carried on however he pleased, simply assuming that somebody else would sweep it up.

He rose to insane heights. In 1939, he was waiting tables at the Rustic Cabin for $15 a week; by the end of the war, he was a bigger star in more media than anyone in the world and had grossed an estimated $11 million. By sheer earnings standards, he was probably the biggest star ever, anywhere; it almost didn’t matter that he was an artistic genius with more pure vocal talent than virtually anyone who’d ever been recorded.

Still and all, he was a creature of the popular culture and, as such, subject to the public’s whimsies. As the forties closed, talk leaked into the press about ties to communism and mobsters, there were ugly spats with writers, photographers, waiters, carhops, fans. His once-promising film career had sputtered—The Kissing Bandit, anyone?—and, after Frank made a wisecrack about one of Louis B. Mayer’s mistresses, MGM gave him his release. On the radio, he was bumped down from Your Hit Parade to a fifteen-minute, B-level show; on TV, CBS just plain dumped him.

He had trouble with his voice—he opened his mouth once at the Copa and couldn’t make a sound come out—and he seemed, further, to have lost his aesthetic way, letting Columbia’s new A&R man, Mitch Miller, talk him into making horseshit records with arrangements scaled wrong for his voice and dog barks thrown in as comic relief. The pathetic fall seemed poetically complete in 1952 when he returned to the Paramount Theater in support of a film of his own (the forgettable Meet Danny Wilson) and couldn’t even fill the balcony, much less stop traffic in Times Square.

Frank had gone from “extra added attraction” to King of the Universe in a couple of years; then, in about the same time span, he couldn’t get a job—and not a few people in the business were glad of it. With his ambition, quick temper, and iconoclasm, he’d done a lot of pissing off in his decade on the scene. His reputation was poison: When Capitol Records president Alan Livingston told his staff that he’d signed Sinatra at terms very favorable to the company, they groaned as one.

Presaging all of this calamity, turning the bobby-soxers against him and making him look like some pathetic pussy-whipped Milquetoast, was his wanton affair with Ava Gardner. Frank had never been faithful to Nancy in even a loose sense of the word, but, like many showbiz wives, she seemed willing to put up with peccadilloes even with such hot numbers as Marilyn Maxwell and Lana Turner. But this thing with Ava was more passionate and public than any of his other dalliances; it might have begun as a meaningless Hollywood fling, but they carried on all over the country throughout 1949, and Frank’s cardboard marriage finally became untenable. In the spring of 1950, he left the pretty Italian girl and the three cute kids that were his P.R. chastity belt. George Evans, enervated and skinny to begin with, bald from defending him, up and died one night after arguing with a columnist about Frank and Ava; he was forty-eight, and his heart had given out.

The affair and subsequent marriage were absurdly tempestuous and about as private as a presidential campaign; Ava was a lioness and Frank was her plaything. She was as promiscuous, lustful, hard-drinking, and profane as he was, and she had the hooks into him but good. She busted his balls mercilessly, running off with bullfighters and making him look like an ass in front of the world. He threatened suicide several times and took two stabs at it—once in Lake Tahoe with pills, once in New York with a razor. His disgrace and comeuppance were complete: Not only was he a has-been as a singer, an actor, and a performer, he was a flop as a cocksman. He was a joke: last year’s punch line.

When he finally managed to crawl out of his hole, then, it was all the more resoundingly triumphant. He achieved it in part through a movie role—Maggio, the pip-squeak private who died horribly at the hands of a bullying sergeant in From Here to Eternity. Throughout the latter half of 1952, Frank campaigned actively with Columbia Pictures president Harry Cohn to get the part, and Cohn’s relationship with the Chicago Outfit’s West Coast point man, Johnny Rosselli, assured Frank at least a hearing. He got the job, he did really good in it, he got the Oscar, poof: He was all better. Once considered an overweening interloper in Hollywood, he was suddenly in the spring of ’54 a resilient, dues-paying member of the acting club. He had done the good thing; he had died for his fame and resurrected himself. He made more movies and he had hit after hit; he was even good in some of them.

At the same time, he took a new turn musically. No longer was he the reed-thin, warbling young crooner with a voice like a viola and a closet full of floppy bow ties. Now working for Capitol Records, he was more propulsive and dynamic, his voice richer and deeper—a cello. He was wearing fedoras and stylish suits; he was singing up-tempo about swinging and in dramatic, elegiac tempi about loss.

As in the movies, he seemed to have earned the right to his station; what’s more, as a singer, he expanded the very art form. He cut whole albums of songs built on the same musical ideas—saloon songs, swing numbers, waltzes—and even lyrical ideas: flying, dancing, the moon. Through the decade, he made the greatest pop records in history—one after another, sometimes as many as four a year.

Come 1959, he could look back twenty years and see a punk kid with nothing but ambition to his credit, he could look back a decade and see a big star dumped by the world, or he could look into the mirror and see the most influential and talented popular entertainer of the century.

Now what?

Frank was to become such a colossus of American popular culture that it would’ve been crazy in his heyday to think of him as needy. But his heroic Last Honest Man posture always had as a counterpart a little boy’s thirst for camaraderie and love. “I don’t think Frank’s an adult emotionally,” his friend Humphrey Bogart sniffed. Shirley MacLaine was more clinical, calling Sinatra “a perpetual performing child who wants to please the mother audience.”

Never mind all the gruff stuff offstage: The evidence of what was in his heart was in his art. Here was a man who lived amid an entourage that could expand, if he wished it to, to infinity, a man who had virtually every woman he ever desired, a man for whom no material comfort was unattainable; yet his music was at its richest and most intense when he sang piteously about loneliness. His familiar swinging cockiness would be overwhelmed by a gray, anguished fog hovering over a profound, hollow core—the achy soul of the Tender Tough. “I’ll Be Seeing You,” “These Foolish Things,” “Guess I’ll Hang My Tears out to Dry,” “In the Wee Small Hours,” “Angel Eyes,” “What’s New?,” “One for My Baby”—a world of crushed dreams, blasted hopes, distant, impossible romance. People called it suicide music and couldn’t understand why he slowed down every show to perform it—sometimes exclusively. But loneliness was the most vibrant color in his musical palette, and it obviously came from someplace very deep inside of him.

Indeed, he was born to it. He was, of course, an only child—try to name another Italo-American only child of his generation!—and grew up with a yearning for the companionship that his friends, neighbors, and cousins all enjoyed in their homes. The cash and clothing that his mother lavished on him were his first means of acquiring a society: He handed down suits to kids whose friendship he courted; he bought burgers and candy and comic books, cultivating early on a habit of “gifting”—treating the house to drinks or meals or clothes or women or more. The assets Dolly spotted him as a teenager—his wardrobe, his car, his sheet music arrangements, his portable sound system—they were a way for him to get a leg up in show business, true, but they were also a means of being part of a bigger group.

Which is what made it so perfect that Sinatra came into his own as a performer during the big band era, when a singer was by necessity a piece of a large, vibrant whole. The Harry James and Tommy Dorsey bands were like big clubs of chums for him—and he didn’t have to buy his way in, either. He gorged himself on the grand bonhomie that the bands instantly provided him—the card games, hazing, drinking, dreaming, and bonding that he and his fellow musicians engaged in during endless bus rides. He was like a congenital junkie who became addicted with his very first hit. As soon as he’d begun life in that dazzling musical fraternity, he wanted to live no other way.

Witness his recollection of the day on which he left James for Dorsey: January 1940, Buffalo; the James band was headed to Hartford; Frank would briefly visit New York, then join Dorsey in Rockford, Illinois; it was the single big break of his career, and he’d yearned for it and schemed to make it so; still, he struggled through the separation from his bandmates of a mere six months: “The bus pulled out with the rest of the boys at about half-past midnight. I’d said good-bye to them all, and it was snowing, I remember. There was nobody around and I stood alone with my suitcase in the snow and watched the taillights disappear. Then the tears started and I tried to run after the bus.” (This was, keep in mind, a married man with a child on the way.)

Of course, the Dorsey band was to offer Frank the same sort of companionship he enjoyed with James. Moreover, Dorsey himself would come to serve as a hero and model for his young singer; Frank dressed and spoke like him, he studied his famous breathing technique, he even took up his hobby of model railroading. Still, even with the prospect of a new gang of buddies assured him, he arrived in Illinois with the beginnings of his own coterie, a safeguard against ever finding himself staring longingly at the receding taillights of a bus again: Nick Sevano, a Hoboken haberdasher who dressed him, did his errands, and even lived with him and his family when they weren’t on the road, and Hank Sanicola, accompanist, business manager, and, as his girth suggested, sometime thumbbreaker.

Two years later, when the allure of profits and aesthetic freedom drove Sinatra to seek his release from the Dorsey band, he was, once again, bereft of bandmates, so he gathered to his bony bosom a band, of sorts, of his own. He expanded his entourage to include such semiregulars as Mannie Sachs, a Columbia Records executive; Ben Barton, his music publisher and business partner; composer Jimmy Van Heusen; lyricist Sammy Cahn; bruisers Tami Mauriello and Al Silvani; and Jimmy Taratino, a boxing writer whose mob ties eventually formed a costly web for the singer. And he gave them all, guilelessly, a name: the Varsity.

En masse, the Varsity hit all the swell spots—nightclubs, saloons, showbiz eateries, and, especially, the Friday night fights at Madison Square Garden, where they mingled with mobsters, Times Square sharpies, and other supernumeraries of the fight game. Grown men actually vied to be admitted to their numbers, but that privilege was rarely granted, and the resultant loyalty of its members was embarrassingly high: When Mauriello was inducted into the service and sent overseas to fight, he gave Frank his golden ID bracelet, which the singer wore with puppy-dog pride.

After the war, the Varsity evolved, with some members resuming their lives without Frank (not always peaceably or voluntarily) and others accompanying him out West, where he had joined the extended family of MGM studios. There was a Softball team—Sinatra’s Swooners, with uniforms and cheerleaders (and Ava Gardner as, ahem, honorary bat girl); there were card games, pub crawls, the works.

But then the spiral that demolished his career began: Divorced, his voice uncertain, his name connected with reds, hoods, and a dozen drunken little fistfights, without a record company, film contract, or agent to call his own, he suddenly didn’t seem like a Sun King anymore. A few steadfast partisans held on; the larger crowd vaporized.

It was a subtle thing: People didn’t so much snub Frank as stop courting him. He couldn’t get tables in the same restaurants, or not the same tables, anyway. He couldn’t round up a poker game or gang of drunks to obliterate a night with him. Early one morning at the dawn of the fifties, Sammy was walking through Times Square, overjoyed with just having been allowed to break the color barrier long enough to schmooze with the big stars at Lindy’s. He passed the Capitol Theater—the place where Frank had once hired him and his dad and uncle when they were still unknown—and lo, there Frank was, walking along with a wounded air.

“Not a soul was paying attention to him,” Sammy recalled later. “This was the man who only a few years ago had tied up traffic all over Times Square. Thousands of people had been stepping all over each other trying to get a look at him. Now the same man was walking down the same street and nobody gave a damn.”

For Sammy, to whom the clubbiness and fame of showbiz were brass rings worth one’s very soul, it was a stunning sight. “I couldn’t take my eyes off him, walking the streets alone, an ordinary Joe who’d been a giant. He was fighting to make it back again but he was doing that by himself, too. The ‘friends’ were gone with all the presents and the money he’d given them. Nobody was helping him.”

There were others who sensed Sinatra’s pain and tried to help. L.A. gangster Mickey Cohen, an admirer of the singer’s (“If you call Frank’s hole card,” he said approvingly, “he’s gonna answer”), tried to rally his spirits by hosting a testimonial dinner for him at the Beverly Hills Hotel. Instead, the sparsely attended event simply underscored Sinatra’s dilemma. As Cohen recalled in his hilarious autobiography, “A lot of people that were invited to that Sinatra testimonial, that should have attended but didn’t, would bust their nuts in this day to attend a Sinatra testimonial. A lot of them would now kiss Frank’s ass after he made the comeback, but they didn’t show up when he really needed them. I don’t know the names of a lot of them bastards in that ilk of life, but I remember the people that I had running the affair at the time telling me, Jesus, this and that dirty son of a bitch should have been here.”

At the time, Frank wasn’t really keeping up with all the snubs—he was far too bewildered by life with Ava and the prospect of resuscitating his career. But he was still Dolly’s boy, and he had to have noticed the slights. And if he’d ever shown himself to be curt and exclusive before bottoming out and being left behind, when he recovered he became more demanding than ever of the loyalty of those he allowed around him. Only the surest would be abided.

Such a one was Humphrey Bogart, the movie god whose blessing upon Frank was one of the lifelines that kept him hopeful that he might someday emerge from the straits in which fate had left him foundering.

In all Hollywood, nobody had a flintier or more enviable reputation than Bogart. An Upper West Side sissy boy who went from playing juvenile walk-ons to psychotic killers, paranoid adventurers, and cynics with soft hearts, he danced just within the boundaries of the game. His drinking, womanizing, and bellicosity never quite made the front pages, his bad-mouthing of bosses never quite stooped to insubordination, and his liberal political beliefs and headstrong independence never quite severed him from the basis of his wealth, fame, and popularity. The one potential faux pas of his life—his affair with starlet Lauren Bacall—was easily cast by studio flacks and gossip mavens as a great May – December romance, especially after the couple wed and started a family.

For a large part of the movie colony, Bogie was a cult hero—a Knight of the True Way. He did his work best by being something that no one else could be: himself. Off-camera, he drank away afternoons in restaurants, went out of his way to upset prigs at parties, cruised the Pacific on his sailboat, and made, with his young wife, a home that offered haven to those very select few in his business who, like him, weren’t fooled for a minute by their own press.

Nothing, but nothing, rattled Bogart more than the sight of Hollywood kissing its own behind, especially over unproven new talent, and especially unproven male talent that was rooted in alleged sex appeal. So in 1945, when the jug-eared boy singer who made the bobby-soxers wet their pants showed up in town to great foofaraw, Bogart was ready to dismiss him out of hand. They ran into one another for the first time at the Players, the Sunset Boulevard restaurant, bar, and theater owned by Preston Sturges.

“They tell me you have a voice that makes girls faint,” said Bogart, an expert needler. “Make me faint.”

Sinatra stood right up to him: “I’m taking the week off.”

Bogart liked the response, liked the kid. And Frank, of course, saw in Bogart all the things he always wanted to be: aloof, profound, world-weary, slightly drunk, slightly sentimental, romantic, tender, tough, loyal, and proud. (He could take his hero worship too far. Once, when a date of Frank’s declared, in Bogart’s presence, “You sound like Bogie sometimes,” the actor laughed and said, “Don’t remind him, sweetheart, the poor bastard’s trying to kick it!”) He tried to cajole producers into casting him in Knock on Any Door as a tough street kid opposite Bogart’s impassioned lawyer; such was Sinatra’s stock as an actor that the role went to John Derek.

Nevertheless, the two men got into the habit of spending time together whenever the occasion arose, which, given Frank’s hectic schedule of filmmaking, recording, and touring, wasn’t often. In 1949, though, Frank moved his family from Toluca Lake to Holmby Hills, just blocks from Bogart’s house. This new proximity allowed the two stars more frequent contact; soon after moving into the neighborhood, Sinatra organized a guys-only baby shower for Bogart when Lauren Bacall was pregnant with their first child.

The relationship got a little strange. After Frank had left Nancy and the kids, he was still welcome in their house; he would frequently crash on his estranged wife’s couch after nights of bingeing with Bogart, shuttling between the two homes as if, in his mind, they constituted one. “He’s always here,” Bogart told a reporter. “I think we’re parent substitutes for him, or something.” Bacall empathized with Frank’s need for companionship, but Bogart warned her against getting wrapped up in it. “He chose to live the way he’s living—alone,” he admonished his wife. “It’s too bad if he’s lonely, but that’s his choice. We have our own road to travel, never forget that—we can’t live his life.”

In fact, Bogart was one of the few people who were willing to tell Frank exactly what they thought of some of the things he did. There was the time he hosted Sinatra, David Niven, and Richard Burton for a night of drinking on his beloved yacht, Santana. Frank was at a career ebb, and he passed part of the night on deck, serenading yachters on the other boats moored nearby; Bogie grew so irate with Sinatra’s preening performance, recalled Burton, that he and Frank “nearly came to blows.”

There was the time when Frank, riding high on the early reviews for From Here to Eternity, visited his hero in search of approval. “I saw your picture,” said Bogie. “What did you think?” Frank asked. Bogart simply shook his head no.

And there was Bogart’s famous line about Frank’s thin-skinned egoism: “Sinatra’s idea of paradise is a place where there are plenty of women and no newspapermen. He doesn’t know it, but he’d be better off if it were the other way around.”

Still, there was a bond between the two: father-son, mentor-acolyte, king-pretender—somehow the dynamic was agreeable to them both. They both reviled the traditional cant and decorum of Hollywood protocol, they both had deep political concerns for the everyman, and they both loved to needle people, especially the thin-skinned twits their lives as famous performers gave them so many chances to meet. Frank was always welcome in the Bogart home; the Bogarts, in turn, accepted his hospitality when he would want to scoop up a gang of pals and run off for a weekend in the Springs or Vegas.

In June 1955, for instance, he gathered a dozen or so chums, rented a train, and took off to catch Noel Coward’s opening at the Desert Inn (yes, that Noel Coward and that Desert Inn; Vegas was always great with novelties). During that particular spree, legend has it, the group had gotten so deep into its cups that Bacall was startled by their debauched appearance when she caught a gander of them ringside in a casino showroom. She looked around at all the famous flesh—Frank; Bogart; Judy Garland; David Niven; restaurateur Mike Romanoff; literary agent Swifty Lazar and his date, Martha Hyer; Jimmy Van Heusen and his date, Angie Dickinson; a few well-oiled others.

“You look like a goddamn rat pack,” she muttered.

It broke them up. A few nights later, back in Romanoff’s joint in Beverly Hills, she walked in and declared, “I see the rat pack’s all here.” Again, a big hit, but this time the joke picked up momentum of its own: They founded an institution—the Holmby Hills Rat Pack. They drew up a coat of arms—a rat gnawing on a human hand—and coined a motto: “Never rat on a rat.” And they assigned themselves ranks and responsibilities: Frank (and you can just see him standing there excitedly conducting the whole sophomoric enterprise) was named Pack Master; Bacall, Den Mother; Garland, Vice President; Sid Luft (Garland’s husband and manager), Cage Master; Lazar (so full of pep they gave him two jobs), Treasurer and Recording Secretary; and humorist Nathaniel Benchley, Historian.

Bogart was named Rat in Charge of Public Relations, and the next day he spoke about the whole silly business with movieland reporter Joe Hyams. “News must be pretty tight when you start to cover parties at Romanoff’s,” Bogart responded when asked about the Rat Pack, but, assured that the story would be treated with such overblown pomp that it would obviously be seen as a goof, he acceded to an interview. The Rat Pack, he declared, was formed for “the relief of boredom and the perpetuation of independence. We admire ourselves and don’t care for anyone else.” They’d briefly considered adding some absent friends to the roster, he said, but the requirements were often too high: When Claudette Colbert, for instance, whom they all liked, was nominated, Bacall insisted that she not be admitted because she was “a nice person but not a rat.” Hyams dutifully jotted it all down, agreed once again when Bogart insisted that “it was all a joke,” and reported it the next day in the New York Herald Tribune.

Hyams’s scoop was true enough: There was indeed a group, centered around Bogart, that hung out together to the exclusion of the remainder of Hollywood, which, though they were part of it, they had no qualms about mocking. “You had to be a noncomformist,” said Bacall, “and you had to stay up late and drink and laugh a lot and not care what anybody said about you or thought about you” (one last criterion: “You had to be a little musical”). But the idea of an organization and a creed and all that, that was strictly a lark, another of Bogart’s beloved practical jokes taken to an absurd height.

Nevertheless, the publicity incited a reaction that revealed that Bogart’s attitude wasn’t necessarily laughed off by the world at large. Hollywood was an extremely cliquish society, and Bogart’s clique had always taken the perverse ethical stand that the local social mores—and the cliques it spawned—were bullshit. The notion of such a disdainful group legitimizing itself into an honorable cult, even in jest, struck some in the movie colony as an affront.

The poor schmucks didn’t get the joke: There was no such thing as the Rat Pack, not really. The principals might all get together at Romanoff’s or Bogart’s house and carry on like a drunken fraternity, but that’s all they really were: There were no dues or meetings or minutes or rules; there were just nights together in a company town of which they were all valued—and jaded—assets. If they wanted to pretend they were wild rebels, fine; they still all showed up on movie sets and in recording studios bright and early the next morning with their material prepared and their bodies and voices ready to perform. The whole Rat Pack thing was like bowling or square dancing or watching TV—the things they would’ve done together if they’d been squarejohns living between the coasts and not movieland royalty.

The subtle caste system out of which the Rat Pack arose became somewhat more manifest in 1956 when Bogart was diagnosed as having incurable throat cancer. A parade of friends, colleagues, and acquaintances spent the ensuing year paying fealty to this man who neither wanted nor acknowledged their sympathetic indulgence. “Haven’t you people got anything better to do than come over here and bother me?” Bogie would admonish his guests. “How am I supposed to get any rest with the likes of you coming every day?” It was the sandpaper wit they’d come to expect from him, and they cherished it.

Despite his crusty bravery, though, the last year of Bogart’s life was a horror of weight loss, discomfort, incapacity, depression. Bacall, still in her early thirties and an established star in her own right, bore it as well as she could, but she needed occasional escape from the traumatic scene unfolding in her home. Bogart insisted that she continue to go out on the town, and he was grateful whenever she took him up on the offer, most frequently escorted by Sinatra.

Frank had determined to remain steadfast during his idol’s illness, visiting regularly even though he was mortified by Bogart’s condition. “It wasn’t easy for him,” Bacall remembered. “I don’t think he could bear to see Bogie that way or bear to face the possibility of his death. Yet he cheered Bogie up when he was with him—made him laugh—kept the ring-a-ding act in high gear.”

More than that, it has been suggested, he filled the loneliness in Mrs. Bogart’s life with more than just suppers at Romanoff’s. Intimates of the group whispered about a budding love affair between Sinatra and Bacall—“It was no secret to any of us,” said one—and they pointed to a Rat Pack trip to Las Vegas for Bacall’s birthday which Bogart skipped, preferring to take his young son, Stephen, to sea on the Santana.

Bacall was aware of the dynamic, admitting that Bogart “was somewhat jealous of Frank. Partly because he knew I loved being with him, partly because he thought Frank was in love with me, and partly because our physical life together, which had always ranked high, had less than flourished with his illness.”

When the end finally came, Frank, a fixture in the Bogart household, was nowhere to be found. Bogart died on January 14, 1957, when Frank was in New York working a club date at the Copacabana. He canceled three days’ worth of shows (Sammy, who was starring on Broadway in Mr. Wonderful, and Jerry Lewis, who was in the midst of a successful solo run at the Palace, subbed for him), but he didn’t return to California for the funeral, holing up instead in his Manhattan hotel.

Even if he didn’t have any reason to feel guilty, he couldn’t have been too comfortable back on Maplewood Drive. Bogart’s house had become a kind of shrine to his final days: His favorite chair, his clothes, his photos, his very aura hung about the place unaltered. Bacall couldn’t bring herself to change a thing, even though she, too, found it difficult to live amid it all. Frank—always indulgent of widows—gave her and her children the run of his Palm Springs estate for as long as they needed it.

By the end of 1957, the time had arrived when he could offer her more. His Mexican divorce from Ava Gardner, a mere legal technicality in their shattered relationship, had coincidentally come through that June. Frank and Bacall began seeing one another socially, with all observers assuming they were intimate. When Frank entertained at his homes in Coldwater Canyon or Palm Springs, Bacall was hostess, and she was his date for the Las Vegas premiere of Pal Joey and the L.A. premiere of The Joker Is Wild. It made perfect sense: the Pack Master and the Den Mother, a golden couple come together after their storied marriages had ended, respectively, in passionate disaster and heart-wrenching tragedy.

Despite the fairy-tale appearance of the romance, though, they had to endure one another’s considerable faults. Bacall got into the habit of checking up on him whenever he was with other women—taking a phone call from her while his latest conquest listened along in his hotel room, he made a big show of his impatience, answering, “Yes, Captain. Yes, General. Yes, Boss.” In exchange, she was subject to Frank’s moodiness. His swings between indulgent companionability and icy remove rattled her, especially, as she noted later, since she had previously “been married to a grown-up.”

But her will was no match for his; like many of Sinatra’s women, she was eager to do anything to please him. She even went so far as to give up her home on Maplewood Drive, in part because of the painful memories the place harbored for her, in part because, as she later told her son, “I don’t think Frank was comfortable in that house. The ghost of your father was always there and I knew that Frank would feel better if I moved.”

Her sacrifices and persistence paid off: In March 1958, after another of his sullen absences, he popped back onto the scene and proposed marriage. She accepted, agreeing to his desire to keep their intentions private for a while. Frank went off to a club date at the Fontainebleau; Bacall stayed in L.A. and kept denying rumors whenever reporters—even buddies like Joe Hyams and Richard Gehman—got snoopy. But she couldn’t keep from blabbing to gossipy little Swifty Lazar, who spilled the beans to Louella Parsons, who made national headlines with it, which drove Frank into a fit.

“Why did you do it?” Frank harangued Bacall from Miami. “I haven’t been able to leave my room for days—the press are everywhere. We’ll have to lay low for a while, not see each other for a while.”

Chastened, even in her innocence, Bacall did as she was told—and Frank never tried to contact her again. “He behaved like a complete shit,” she later said. “He was too cowardly to tell the truth—that it was just too much for him, that he found he couldn’t handle it.”

But there might have been a bigger truth: Maybe Frank had realized that he didn’t have to marry Bogie’s widow to become the actor’s true heir and King of the Rat Pack. Maybe he realized that he could simply up and start a brand-new Rat Pack of his own.




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By at least one account, it was Dean’s idea: The story goes that he had just rescued his career with his eye-opening work on The Young Lions, and he was sharking for a new project. In the summer of ’58, he and his wife attended the premiere of Kings Go Forth, Frank’s latest picture, and he walked over to Frank like he was pissed about something.

“You bum!”

Frank played along: “What’ve I done now?”

“You’re hunting for a man for your next picture who smokes, drinks, and can talk real southern. You’re looking at him.”

“Well, whattaya know …”

Cute. And there might even be some truth to it, but the likely scenario is somewhat less colorful. For starters, if it had happened, it would’ve marked the first time in his life that Dean Martin went out of his way to further his career; indeed, one of the reasons for the dissolution of Martin and Lewis was that Jerry’s overweening ambition struck Dean as degrading. More than that, the story assumes that Frank, who was forever throwing his chums roles in his movies (he once slated his squeeze Gloria Vanderbilt for a role in the western Johnny Concho, an inspiration lost to cinematic history when their love affair hit the rocks), hadn’t already considered Dean for a role that he was practically born to play. In fact, it ignores altogether just how close Dean and Frank, a couple of olives off the same tree, had recently become.

For their first couple decades in the business, they hadn’t palled around much, even though they’d been crossing paths since the war. Dean’s big ticket to New York came when he followed Frank into the Riobamba nightclub; they shared a record label; they had appeared together on TV a few times; but they were no more a two-act than, say, Perry Como and Vic Damone.

Recently, though, that had begun to change. A couple of years earlier, Dean took in a Judy Garland show in Long Beach in Frank’s company (Sammy and Bogey were also there), and they all popped onstage with the star for an impromptu number. After that, Frank appeared on a couple of Dean’s NBC specials—on one, they sang a duet of “Jailhouse Rock”!—and Dean returned the favor when Frank began his catastrophic series on ABC.

Frank had grown to feel something fraternal for Dean. He would always be the first mate, a brother.

But it hadn’t always been that way.

“The dago’s lousy, but the little jew is great”: thus Frank on Martin and Lewis, circa 1948, when the new singing-comedy act was tearing the roof off Frank Costello’s Copacabana and quickly becoming the hottest thing in showbiz.

In a sense, it was an entirely apt critique. Martin and Lewis, one of the greatest two-man acts in history, was really Jerry Lewis’s vehicle. Dean, the tall, handsome, crooning straight man, was more or less along for the ride. And when the ride ended, when Martin and Lewis devolved into an ugly spitting contest and finally broke apart, “the little jew” went on to solo success, just as everyone predicted, while “the dago” initially floundered.

It wasn’t that Dean didn’t have the chops. He had a charming voice in the Crosby mood—a stylish singer, if never a real artist. He cut a great figure in a tux, golf clothes, even overalls: real movie star looks. And he was funny, with a gift for whimsical one-liners and a canny, low-key delivery that were completely wasted in the years he spent alongside the spotlight-hogging Jerry.

But he seemingly didn’t have the drive to go it alone. He was ten years older than Jerry and struggling under an absurd burden of debt when the two teamed up and launched their rocket to the moon. For all his gifts, he’d never, as a solo, gone anywhere useful. And for all the success that he eventually enjoyed, it seemed like the only reason he’d ever gotten anywhere at all in the world was that he’d been somehow blessed to thrive in it. He didn’t have to work, he didn’t have to sweat, he didn’t have to think; he just had to show up and get paid—his whole life long.

Consider: Dean never wanted to get his hands dirty, so he learned how to deal cards and how to sing, and he made a living at it; he was too sanguine to chase women, so they threw themselves at him; he didn’t have the fire in the belly to make himself a showbiz star, so he met a couple of wildly ambitious guys—Jerry and Frank—who dragged him along.

It was even luck that Dean was born in America—his father’s bad luck, that is, to have been born in Abruzzi, a wind-scored plain south of Rome, dotted with cave-riddled mountains. Abruzzi spit forth disconsolate young men and women and exiled them to the New World, where they choked slums and factories. Steubenville, Ohio, where Dean’s people turned up, was filled with steelworks that swallowed up Italian and Greek immigrants like so much coke.

After seeing the infernal wreckage of his older brothers, who’d emigrated before him, Gaetano Crocetti, Dean’s father, decided that selling his soul to a foundry wasn’t for him. He chose instead one of the few respectable blue-collar jobs open to a young Italian immigrant, apprenticing himself to a barber. With his name anglicized (he became Guy Crocetti, pronouncing his last name Crowsetti) and his future assured, he was able to woo and wed Angela Barra, an orphan girl from the neighborhood with a bit of barbed wire in her makeup. They were kids when they married, but by June 1917, just three years later, Guy had his own barbershop, the couple had a one-year-old boy, and Angela produced another son. Born prematurely, he wasn’t christened until the fall: Dino.

The Crocetti boys were raised among a healthy tribe of relatives and neighbors. They had a comfortable home, plush Christmases, plenty to eat; there were no riches, exactly, but nor were there rags. Guy was naturally easygoing—a good barber. He sat genially among the other men, sipping wine, eating tangerines and nuts, schmoozing away the twilight in the Abruzzese piazza that they simulated in their hearts and minds.

But Angela had grown up under more brutal circumstances than her husband—her mother had been committed to the Ohio Institution for the Feeble Minded—and she didn’t see the world as so accommodating a place. She spoiled her sons like any good Italian mother, true, but she also tried to prepare them for the world by instilling her toughness in them, teaching that they mustn’t be weak or free with their feelings, that they should make their way in the world like men.

Dino learned such lessons well. Like his dad, he refused to submit to a future in the foundries, but he wasn’t soft enough for barbering. His mother’s strength had given him the confidence to seek other opportunities—of which Steubenville was deliriously full. In fact, the town, known throughout the region as Little Chicago, was wide open: pool halls, strip joints, cigar shops fronting for gambling parlors; only a sucker, it seemed, could grow up amid it and not try to cash in.

By his early teens, Dino was running with a shady gang from around the neighborhood and showing up in school with his pockets full of silver dollars. At sixteen, he slipped out of school altogether and for good. He was tall and athletic, with dark, wavy hair and a bold Roman nose. He tried to turn his good looks, lithe body, and quick hands into a profit as a welterweight boxer—Kid Crochet. He flopped. So he turned to odd jobs, including a brief, terrifying stint in a steel mill—a vision of hell as a place where you spent eternity if you lacked the moxie to avoid it. He finally broke through into the sort of racket to which he aspired: dealing poker and blackjack in a local gambling den.

He took to fancy clothes and easy women. He and his pals ran around nights drinking, gambling, carousing. Guy and Angela disapproved, but their boy breezed along in merry indifference: Good times like these, who worried about the future?

Yet even though he was always one of the boys, there was something in Dino that set him apart: He sang—a fanciful affectation, perhaps, but one acceptable to Italian boys of his age, partly out of the respect accorded opera singers in their culture, and partly because of the novelty of the radio and the phonograph, which was making stars of crooners. It was the only thing that Dean applied himself to that didn’t have the spoor of sin about it; he even took vocal lessons from the mayor’s wife. And he performed in clubs and taverns and at parties whenever there was an open mike and a band willing to back him.

His pals encouraged him; his bosses liked it. Soon enough, he took work as a singing dealer at a sneak joint outside of Cleveland. He was approached by Ernie McKay, a bandleader from Columbus who offered to take him on. Before long, another eye was caught: Cleveland bandleader Sammy Watkins hired him away in the spring of 1940 to come to the shores of Lake Erie and play to a ritzier clientele.

That winter, performing under the newly minted stage name Dean Martin, he met a fresh-faced college dropout named Elizabeth MacDonald. Two years later, they married. Nine months after that, Dean was a father looking for a way to make more money.

A local MCA agent called: Frank Sinatra had canceled a date at the Riobamba in New York, and the club’s owners were willing to give this new Italian boy singer from Cleveland a shot. Dean wanted to go, but he had to pay a steep price: For freedom from his contract, he gave Watkins 10 percent of his income for the next seven years; the agent took another 10 percent. In September 1943, at $150 a week, he debuted in Manhattan, the world’s biggest candy store for a guy with his kind of sweet tooth.

The obvious pleasures aside, New York didn’t prove easy. Money didn’t come fast enough, and when it did, it disappeared even quicker. Hands reached into his pockets. An old Steubenville acquaintance turned up wanting to serve as his manager, offering $200 ready cash in exchange for a 20 percent piece of his earnings. Dean was in debt everywhere; he took the deal. He was courted by a Times Square agent who offered another cash payment for 35 percent of his earnings; he took it. Comedian Lou Costello offered Dean more money for another 20 percent; he took it.

Dean got his patrons to broker a nose job, turning the schnozzola he’d inherited into something more aquiline. He signed up for a nonsponsored radio show whose musical director took an interest in his future. Dean milked the guy for yet another cash payment in exchange for 10 percent of himself, making a grand total of 105 percent; for every dollar he earned, had he been up front with all his partners, he would’ve been out a nickel—but, of course, he never bothered to pay anybody.

In August 1944, he was booked into the Glass Hat nightclub, just another gig that only changed his life forever. Down the bill and serving as emcee was a skinny, acned kid pantomimist from New Jersey named Jerry Lewis: destiny with an overbite.

Like everyone else, Jerry adored Dean, and he grabbed every opportunity he could to pal around with him at gigs, at restaurants, at after-hours schmoozes. He even began edging into Dean’s act. In the winter of 1945, when Dean was topping the bill at the Havana-Madrid club and Jerry was emcee, Jerry kibitzed from offstage as Dean sang. Dean didn’t care much about what he was doing anyhow, so he played along, getting an appreciative rise out of the crowd.

The following summer, Jerry was playing the 500 Club in Atlantic City, a joint with ties to the Camden mob, and he found himself on the verge of being fired. He called New York in a panic, found out that Dean was available, and told the guys who ran the club that Dean was a great singer and that the two of them did “funny shit” together. Management bit, Dean got hired, and one of the brightest Roman candles ever to hit showbiz was lit.

Within a year, Martin and Lewis were the biggest act in nightclubs; two years later, they were the biggest act in the world: TV, movies, radio—they overran every single medium available to them. They made sixteen hit films, had the nation’s number one TV show, and were one of the top-drawing live acts in the business, creating a sensation that recalled nothing so much as Sinatra’s bobby-sox heyday; they even tied up traffic in Times Square.

The act was a farce, equal parts nightclub slickness and burlesque puerility. Dean would stand soberly (the drunkie routine didn’t start till after Jerry) and try to put over a tune—“Oh, Marie,” say, or “Torna a Sorriento”; Jerry would cavort wildly, trying to horn in on the act or take control of it for himself—a realer bit of shtick than anyone in the audience knew.

Of course, Dean could actually sing as well as play straight, combining the best of George Burns and Desi Arnaz with sex appeal neither of them had. But the point of Martin and Lewis was no more straight vocals than it was dramatics. Jerry would squeal and wheedle and practically run out and kiss the audience’s ass to gain its love, and Dean would stand in dumbfounded awe of the spectacle, a substitute for the viewer, bemusedly, indulgently watching as his little buddy made a travesty of the accepted forms of showbiz. If Dean occasionally dove in and capered as well, that made it even more fun; for the most part, though, he hung back and let Jerry make a merry schmuck of himself.

This was the Dean Martin that the world came to love—the suave geniality covering up the calculating hedonism, the easy affability that belied the inner selfishness, the game sport whose willingness to go along with his wacky partner onstage was utterly at odds with the taciturn midwestern reserve that marked him when the arc lights dimmed. For four decades, he would project as much dignity and self-assurance as he ever did sauce or testosterone or jaundice.

The public loved him and it loved his partner and it loved the two of them together. Even when he divorced Betty and married Jeannie Biegger, a gorgeous-blonde beauty queen from Miami, he couldn’t tarnish the golden glow of Martin and Lewis.

It took the two of them to do that.

By 1954, they weren’t such good pals anymore. Jerry was styling himself a creator of artful comic narratives in a variety of media. He sought publicity and creative control—something, ultimately, other than partnership—and he couldn’t stand to sit beside his pool for more than a few hours without setting himself to some sort of project.

Dean didn’t want to be worked to death when they were doing so well; he mocked Jerry’s aspirations as “Chaplin shit” and was less and less concerned with keeping a happy public face on their relationship. After a few well-publicized snubbings, Jerry grew haughty enough to shove Dean, and Dean shoved back—harder, and with no little relish. It got ugly, and by July 1956, on the Copacabana stage that was their first great showcase, they played their last gig together.

Everyone in show business knew that Jerry would do great, but most predicted a dire future for Dean. And when he debuted as a single, it was disastrous. His first picture, Ten Thousand Bedrooms, was numbered for years among the great movie turkeys of all time. Cynics were predicting he’d be out of the business altogether within months.

Like Frank, though, he was rescued by fate in the form of a new singing persona and a World War II movie. Actually, Dean didn’t so much change his voice as what he did with it. Always languid, he became frankly indifferent; without Jerry around to interrupt his singing, he began to act the drunk and interrupt himself. It suited him; audiences loved it.

Another break: In 1957, his agents got him cast in a key role in the screen version of Irwin Shaw’s best-selling novel, The Young Lions. Playing a roguish Broadway singer miscast as a G.I., Dean held his own against Montgomery Clift and Marlon Brando and was suddenly a hot commodity once again.

He might have drifted into anything, but he never really got the chance to go it purely alone; probably he didn’t want it; he might have even been scared. Within two years of splitting with Jerry, he found himself teamed, unofficially but semipermanently, with Frank, starting with a trip to some sleepy town in the Midwest.

Of course, Frank knew that Dean would be a perfect choice for the role of Bama Dillert, a honey-drippin’ card shark in the upcoming film Some Came Running. A gambler, roué, souse, and cynic with a southern accent just like the one Dean sported as a bit of shtick, he was capable of being played right by no other actor in the world. If it took till mid-’58 for Frank to offer Dean the role, the likely reason is that he was waiting to see how The Young Lions turned out.

It turned out fine; the role was Dean’s.

Like Frank’s career-saver, From Here to Eternity, Some Came Running was based on a big fat book by James Jones (even at twelve hundred pages, it had been cut in half by editors at Scribner’s). Frank was cast as Dave Hirsch, an ex-G.I. with a literary bent who drunkenly wanders back to his small Indiana hometown, where he does battle with his respectable older brother, falls for a priggish schoolmarm, and is in turn fallen for by a big-city floozy who has floated into town in his wake. MGM production head Sol Siegel had bought the book for $200,000 before it was published, then assigned it to in-house auteur Vincente Minnelli, who’d almost entirely abandoned the gaiety of his classic musicals for broody, atmospheric melodrama. The $2-million production (not counting Frank’s $400,000 guarantee against a piece of the gross) would be shot throughout the late summer and fall of 1958, with eighteen working days scheduled for location in Madison, Indiana, population 10,500, a wee bit of Americana just across the Ohio River from Kentucky, where mob-run casinos such as the plush Beverly Hills Club flourished.

Dean signed on to play Bama, an itinerant gambler who befriends Hirsch, and the cast was rounded out with Arthur Kennedy as the banker, Martha Hyer as the prig, and Shirley MacLaine as the floozy (“the pig,” as Bama calls her), Ginny Moorhead. MacLaine knew Dean from having worked with him and Jerry on Artists and Models, her second film, three years earlier; she’d met Frank soon after on the set of Around the World in 80 Days—his one-shot in that dull parade of cameos came when she popped into a Barbary Coast saloon where he was playing the piano.

MacLaine was a kid when she showed up in Madison—just twenty-four, with a two-year-old daughter and a husband who spent most of his time on business in Tokyo. She’d worked in Hollywood for three years, but nothing in her green, bubbly life prepared her for the world in which Frank and Dean lived. For two weeks in Indiana, she got a glimpse of the strange, intoxicating lives to which powerful men entitled themselves.

For starters, each of them made an abortive visit to her hotel room, trotting over for a quickie from the house they’d rented next door. Rebuffed but nevertheless taken with her spunk, they adopted her as a mascot—the only woman who’d be allowed to enter their confidence without sexual payment in return. They dragged her along when they went on trips to gambling joints near Cincinnati; she was allowed to sit with them while they gussied themselves up for an evening’s leisure. “Their white shirts were crisp and new,” she recalled, “the ties well chosen, the suits expensive and impeccably tailored.… Their shoes were uncommonly polished and I was certain their socks didn’t smell. Underneath it all, I sense their underwear was as white and fresh as soft, newly fallen snow.”

There was nothing so pristine, though, about some of the people they hosted on the set. Frank didn’t get to the Midwest too often, and his presence there occasioned visits from the region’s hoods—Sam Giancana, top man of the Chicago Outfit, among them. If the sterilized grace of Frank and Dean descending a hotel staircase in fedoras hadn’t convinced MacLaine that they were privy to things she’d never even imagined, then a few days around Giancana did the trick. He cheated her in meaningless games of gin and pulled a real .38 out of his jacket when she menaced him with a water pistol. “I knew he was a hood of some kind,” MacLaine recalled, “but at that point it was all so theatrically dangerous and amusing to me.”

Less amusing was the behavior of her costars around Madison and on the set. MacLaine had been bred with southern manners and was a fresh enough actress to still defer to her directors. Frank and Dean didn’t particularly care whom they offended. They were, naturally, besieged by local gawkers throughout their stay, and they treated them with beastly crudeness. Riding the film company bus to and from work, Frank would sit by the window and disparage the fans who lined up outside for a glimpse of celebrity flesh; smiling and waving, he’d mutter deprecations under his breath: “Hello there, hillbilly!” “Drop dead, jerk!” “Hey, where’d you get that big fat behind?” Seized by hunger early one morning, he woke a hotel manager demanding a meal; the frazzled man arrived with food and beer, only to find himself in a shouting match with Frank that devolved into a fistfight—which Dean complained blocked his view of an old movie on TV.

On the set, Frank was just as bearish, walking around between takes grousing repeatedly, “Let’s blow this joint.” Many evenings, he’d go to such lengths to amuse himself in the small town that he was in no shape—or mood—to work the next morning. “His eyes would be like two urine spots in the snow,” said one crew member, “and when I saw his hangover look I would keep walking.”

Minnelli, of course, didn’t have that luxury. A notorious perfectionist, he continually rankled the cast with requests for additional takes of scenes that Frank felt had already been filmed satisfactorily. Dean and Frank began to mock Minnelli’s fussiness, his pursed lips, his aesthetic ambitions.

Not long into the production, with the town dressed up for the film’s climactic carnival scene, Minnelli was taking, Frank thought, an inordinate amount of time setting up a shot. The director circled around the camera several times, sizing up various angles; he closed his eyes and fell into deep concentration; around him, extras made merry with the free rides and snacks, and his principal actors stood waiting for direction. MacLaine could feel Frank tightening up. Finally, Minnelli came to a solution to whatever was troubling him. He turned to his crew: “Move the Ferris wheel!”

That did it. Frank left the set, left the town, left the whole state. They found him at home in L.A., adamant that he would put up with not one whit more of artsy-fartsy bullshit. Sol Siegel, the budget ticking away, made Minnelli promise to compromise the purity of his vision for the sake of getting the damn film made.

They finally did it—only 10 percent over budget. When the picture finally came out, to so-so reviews and big box office, MacLaine got her first Academy Award nomination (Minnelli, ironically, swept the Oscars with his other film of the year, Gigi), and Frank walked away with at least a half million.

But Dean might’ve made out best of all: Not only did he prove that The Young Lions was no fluke, that he really could pull off a dramatic part, but he had a new best-friendship, sealed in booze, broads, gambling, and Italian food. Some Came Running premiered in January 1959; that same month, Frank served as conductor for Dean’s album Sleep Warm, and the two of them screwed around together for the first time on the stage at the Sands. It was almost like the Martin and Lewis days all over again.

If Frank and Dean shared a natural kinship, it was also a curious one. Their talents were so disparate: Frank manly and passionate and artistic; Dean flippant and lazy, and, well, a little fruity.

Take Bama: Amid all this hot-blooded James Jones hooey, with Frank boozing and writing and chasing tail and being chased by it, there’s Dean listlessly bridging a deck of cards in his hands, talking in a hokey cornpone accent, fussing about his wardrobe, tsking at the world and the way Frank’s character reacts to it. Sure he gets a couple of broads as the thing unfolds, but they’re nonentities compared to the full-blooded chicks Frank’s involved with; even though Bama’s girls are made to seem promiscuous, you don’t imagine that he actually screws them—and certainly not that he does any of the hard work if he does.

Same with Sleep Warm. Dean always did queerer material than Frank in the studio: novelty records, Italian-language numbers, country-western songs. Dean’s approach was always practically a lampoon, but it was a lampoon of masculinity and the troubadour pretensions of performers like Frank as much as it was of showbiz and the fact that he was actually getting paid so much to do something so easy.

Listen to the effeminate little spin he gives his sibilants on numbers like “All I Do Is Dream of You” and “Sleepytime Gal.” Jerry liked to do all that nance shit onstage—the critics gave him hell for it—but Dean put it to another use: He wasn’t parodying a gay man, he was parodying a straight man. He sounded at least as contemptuous of his beloved as solicitous.

It was a con: Sicilian Frank strove and suffered and made art; Abruzzese Dean chuckled a little bit to himself and did what he had to do to keep the whole shuck-and-jive afloat. If Frank wanted to conduct, produce movies, and host big events, he just had to tell Dean when and where and he’d be there—so long as he wasn’t expected to bring anything with him or stick around after to clean up.

He had had Jerry already. If Frank wanted him as a brother, fine, but it would be on Dean’s terms.




Sonny boy (#ulink_98ab9abb-6ada-53e8-955a-66768689498f)


For someone who would take orders, Frank could always count on Sammy.

Sammy Davis Jr. was the kind of guy about whom God seemed not to have been able to make up his mind. On the face of things, by his own reckoning, he had more strikes against him than you could count—he was short, maimed, ugly, black, Jewish, gaudy, uneducated. But he could do anything: song, dance, pantomime, impressions, jokes, and even, in a manner of speaking, drama. He overcame so much that his merely being there among them was an epochal triumph: He was the Jackie Robinson of showbiz.

And yet when he saw himself in a mirror he was disgusted: “I gotta get bigger,” he’d implore himself. “I gotta get better.”

He was so used to being excluded that he was willing to kill himself with work to be let in. He’d suffer all manner of indignities: Frank’s clumsy racial jokes; years of Jim Crow treatment in theaters, hotels, and restaurants; the nigger-baiting of high-rolling southerners in Vegas casinos; a patently bogus marriage to a black dancer intended to quiet journalists about his taste for white girls; the explicit disdain of mobsters and other bosses. But he kept at it, convinced that sheer will and talent would stop the world saying no.

Who was he trying to impress? His mother, a showgirl, was a cipher in his life, a ghost whose approval he never seems to have missed; his father, a small-time song-and-dance man, he eclipsed when still a boy. All the know-it-alls, naysayers, and bigots who’d ever discouraged him he’d silenced with sheer talent, guts, and drive. The gods themselves nodded with pleasure upon him: “This kid’s the greatest entertainer,” declared Groucho Marx at Hollywood’s Jewish mecca of leisure, the Hillcrest Country Club, one afternoon, “and this goes for you, too, Jolson” (to which Jolie merely responded with a smile). He was not only the first black man through the door but one of the all-time greats, regardless of origin.

Yet he felt hollow: All the money and fame and sex and sycophants in the world still couldn’t squelch the nagging inner sense that he was a nothing—and that if he could only rouse a little more out of himself, he could finally be a something. He sang that he was “133 pounds of confidence,” that he was “Gonna Build a Mountain,” that he had “a lot of livin’ to do,” and he sounded like he meant it. But each garish boast gave off a vibe of whistling past a graveyard; in his heart of hearts, he could never vanquish the sense that all the work he’d done to get so far could be snuffed out by a mere wave of Fate’s lordly white hand.

Sammy was the baby of the Rat Pack, born four days before Frank’s tenth birthday, and that banal fact—more than race, size, taste, line of work, personal habits, common friends, political leanings, money, sex, or power—was the single governing factor in their relationship. Frank was always the big brother allowing the kid, Sammy, to hang out with the older guys; Sammy was always the precocious little brat tugging feverishly at his idol’s sleeve. Neither had actual siblings, but they filled those roles for each other: Frank needed to be the patron as much as Sammy needed to be patronized. Everything about their mutual solicitude, affection, and trust, every aspect of their difference and of their symbiosis, lay in germ form in the simple age difference between them.

Uniquely among his peers in Frank’s circle, Sammy was a showbiz brat. His mom, Puerto Rican-born Elvera “Baby” Sanchez, was so committed to her career as a chorus girl that she worked until two weeks before her child arrived; as soon as she was able to return to the stage, she left the kid with relatives in Brooklyn and hit the road along with Sammy Sr., who was the lead male dancer in Will Mastin’s vaudeville act.

After that, there was barely a whiff of Elvera in her son’s life. She and Big Sam split for good not long after their son was born, which might have made Sammy’s story another “deprived baby beats the world to win his mama’s love” yarn but for the fact that Big Sam and Mastin, with the approval of Sammy’s extremely protective grandma, Rosa Davis, took the boy on the road with them from the time he was three and provided him with as big and loving a family as most children ever have. Chorus girls, singers, comics, and musicians were his society; dressing rooms, boarding-houses, and buses his playgrounds. He never attended so much as a day of kindergarten in his life—Big Sam and Mastin hid him from child welfare authorities by gluing whiskers on him and billing him as a midget—but he was steeped in a showbiz curriculum virtually from birth.

In later years, Sammy looked back on his tender introduction to showbiz as an idyll, but it was a terrifically difficult era. The Chitlin Circuit, as the route of black vaudeville and burlesque houses was known, never paid what the white theaters did; moreover, Sammy broke in when all forms of live entertainment were taking a hit from talking movies, radio, and recorded music. Scuttling back and forth between sporadic, low-paying jobs, Big Sam and Mastin frequently went without food so that their little protégé might not go hungry—and even then his supper might consist of a mustard sandwich and a glass of water. With grim regularity, they all returned to Harlem to sit waiting for new offers of work, which became even less steady with the advent of the Depression.

This was hell for Mastin, by all accounts a decent, intelligent, gifted man who’d risen to a position of respect within the narrow world of black showbiz. Although he never crossed over to broad white appeal, Mastin was a success, able to keep dozens of people on the road with him throughout the twenties. When he had to dissolve his traveling show to a two-man act featuring just himself and Big Sam, he surely felt as though he’d shrunk in the world; trouper that he was, though, he never let on, least of all to Sammy, that there was anything small about the small time.

And Sammy would’ve noticed if he had, because he was watching. He spent his early years studying acts from the wings, then imitating what he’d seen for the backstage entertainment of his makeshift family. He was a natural, and Mastin and Big Sam quickly realized it would give the show a lift if they put the little ham onstage. They slathered him in blackface and sat him in a prima donna’s lap while she sang “Sonny Boy,” the Al Jolson hit; mugging and mimicking during her sober reading of the song, Sammy brought down the house.

In time, he would master little comic bits, dance steps, vocal impressions, and songs of his own, and his skills grew along with his exposure. From special billing—“Will Mastin’s Gang featuring Little Sammy”—he became a full-fledged part of the act, the Will Mastin Trio, with all three sharing equally in the profits. They were flash dancers: Cat-quick and athletic, they could do time steps together or improvise wild solos, all energy, all arms, legs, and deferential smiles; for six or eight minutes a night, they could wring an audience limp with their sheer gutty bravado.

It was as a member of the trio that Sammy found himself in Detroit in the dog days of 1941, a substitute opening act for the Tommy Dorsey band. As he wandered backstage marveling at the size of Dorsey’s operation, Sammy was offered a handshake by a skinny white guy in his twenties: “Hiya. My name’s Frank. I sing with Dorsey”

“That might sound like nothing much,” Sammy recalled later, “but the average top vocalist in those days wouldn’t give the time of day to a Negro supporting act.” And Frank did more: For the next few nights, until the regular opening act returned, he would sit with Sammy in his dressing room shooting the breeze, talking about the show life. The kid couldn’t believe his luck.

But if meeting Sinatra was a glimpse of a raceless Eden, the next few years were a crushing racist hell. Sammy was drafted into an army that was a cesspool of bigotry. He felt it the moment he arrived in Cheyenne, Wyoming, for basic training.

“Excuse me, buddy,” he asked a white private he came across while trying to find his way around. “Can you tell me where 202 is?”

“Two buildings down. And I’m not your buddy, you black bastard!”

It was a slap in the face, but it was only the beginning. For two years, Sammy was denigrated, demeaned, and, truly, tortured. He was segregated by a corporal who created a no-man’s-land between his bed and those of white soldiers. His expensive chronograph watch (a going-away gift from Mastin and Big Sam) was ground into useless pieces under a bigot’s boot. He was nearly tricked into drinking a bottle of urine offered to him as a conciliatory beer; his tormentors reacted to his refusal to imbibe it by pouring it on him. He was lured to an out-of-the-way building and held against his will while “Coon” and “I’m a Nigger” were inscribed on his face and chest with white paint.

And there were the beatings. “I had been drafted into the army to fight,” he remembered, “and I did.” He was goaded frequently into using his fists as a means of settling the score with the pigs who abused him, breaking his nose twice, scoring his knuckles with cuts.

Only when he was asked by an officer to take part in a show for the troops could he lift his spirit above the dreadful situation. At first, he didn’t want to expose himself on a stage and entertain the very people who’d been mistreating him, but he couldn’t resist the temptation to perform. George M. Cohan Jr. was also stationed in Cheyenne and convinced Sammy to help him create a touring production that would visit a number of military installations. Sammy threw himself into the work with a kind of violence, seeking release, vindication, and even revenge by being the best song-and-dance man anyone had ever seen.

“My talent was the weapon,” he recalled, “the power, the way for me to fight.” For the last eight months of his service time, the show was continually on the road, far from his most virulent antagonists. It kept him sane, maybe even alive.

But when he got out, his eyes having been opened to his situation as a black man with grand aspirations in America, he found himself increasingly crushed by the gap between his ambitions and his opportunities. He was befriended by Mickey Rooney, who, though still one of the hottest stars in Hollywood, was unable to get him movie work. He winced at the ebonic clichés employed by performers on the Chitlin Circuit. In reaction, he adopted a stage manner so patently artificial that he sounded, in his own words, like “a colored Laurence Olivier.” Even the tone-deaf Jerry Lewis was to encourage him to forgo his “with your kind permission we would now like to indulge” routine, but Sammy only did so after, typically, listening for several self-lacerating hours to tape recordings of his own inflated persiflage. And he reacted with despair and self-loathing whenever he was confronted with the insidious—and frequently overt—limits placed upon him in the Jim Crow era.

Nowhere were these barriers more painfully imposed than in Las Vegas, where the Will Mastin Trio debuted in 1944. Vegas was still a cowboy town, “the Mississippi of the West,” as blacks unfortunate enough to live there called it. The black population, whose members swelled the ranks of janitors, porters, and maids at the emerging hotel-casinos on the Los Angeles Highway (which had yet to be christened the Strip), was restricted to living, eating, shopping, and gambling in a downtrodden district known as Westside—a Tobacco Road of unpaved streets bereft of even wooden sidewalks, lined by shacks that lacked fire service, telephones, and, in many cases, electricity and indoor plumbing.

Sammy ought to have been used to segregation. The trio arrived in Vegas not long after a stint in Spokane, where they were forced, for lack of a black rooming house, to sleep in their dressing room. But Vegas galled him more than anything he’d experienced before, in part because of the appalling contrast between the glamour of the Last Frontier hotel and the shack in which he was forced to spend all of his offstage time, and in part because the gaiety and glitz of the casino—which he wasn’t allowed to walk through or even see—had an almost visceral allure for him.

As in the past, the only time he ever felt lifted out of himself and his miserable situation was onstage—“for 20 minutes, twice a night, our skin had no color.” As in the past, he fought off his frustrations and the indignities of racism with ferocious performances—“I was vibrating with energy and I couldn’t wait to get on the stage. I worked with the strength of 10 men.” But never, as he dreamed might happen, did a casino manager or owner grow so enamored of his performance that he broke the color line by offering him a drink and a chance to try his luck at the tables.

And so it went. He forced himself higher and higher in the ranks of showbiz, garnering accolades, cutting records, standing out a bit more from Big Sam and Mastin with each performance, getting paid a little better with each gig. At the same time, he was hustled by cops to the backs of movie theaters, snubbed at the doors of the Copacabana and Lindy’s, barred even from men’s rooms in some of the theaters he packed with paying customers. If he grew to hate himself in some twisted fashion, he could hardly be blamed.

But repeatedly he found in his corner that skinny guy he’d met in Detroit. When Sammy was in the army, Frank had become a monster star, and when he was discharged and caught up with Mastin and Big Sam in Los Angeles, he made his way over to NBC studios in Hollywood, resplendent in his dress uniform, to watch Sinatra perform his weekly stint on Your Hit Parade. After the show, he waited out back with the bobby-soxers and autograph hounds and sheepishly offered Sinatra a piece of paper to sign.

“Didn’t you work with your old man and another guy?” Frank asked, and he invited him to the next few shows, letting Sammy drink in rehearsals and backstage ambiance until another gig dragged the Mastin Trio back onto the road.

Two years later, Frank insisted that Sidney Piermont, manager of New York’s Capitol Theater, book the Mastins as his opening act at $1,250 a week—a sum that staggered Mastin and Big Sam. Sinatra never told Sammy that he was behind the act’s being hired—Piermont had wanted the Nicholas Brothers and then gagged at the price Sinatra wanted to pay Mastin—but in every other respect he treated Sammy like a peer throughout the engagement. They parted bosom pals: “Remember,” Frank told Sammy as he left for his next booking—and this was his most profound gesture of friendship—“if anybody hits you, let me know.”

But in the early fifties, no one, it seemed, wanted to hit Sammy. He was the quickest-rising star in nightclubs and theaters, particularly among the New York and L.A. cognoscenti. In 1951, the Will Mastin Trio opened at Ciro’s, the hot Sunset Strip nightclub. The room was packed with Hollywood royalty, and Sammy and Company couldn’t do enough. Dancing, singing, little comic bits, everything was a hit, nothing more so than Sammy’s impersonations of such white stars as Jimmy Cagney, Cary Grant, and Humphrey Bogart. The same good fortune followed at an engagement at the Copacabana, the dream club of Sammy’s youth, some months later. He was on the map to stay.

There was nevertheless a feeling of vertigo to it all. Although all the right people came to his shows, although he was welcome in the homes of Hollywood’s crown royalty, he sensed a distance between himself and the fellow to whom all this good fortune fell, an inner gap separating the real man from the personality he’d become. He became famous for his tight pants, his extravagant spending, his largesse, his energy. But he’d also become infamous, in the tabloid press, as a consort—often only rumored—of white actresses, and the black press could be cutting in their comments about his seeming disregard for his race.

He was calculating and savvy enough to know that all publicity was good publicity—he was thrilled that his name made for hot ink—but he was wounded by the unfairness at the root of it. His race excluded him from a number of opportunities, so he created his own success; his success lifted him out of his race and made him a star simply because of his sheer talent; yet his talent could never entirely erase his race and, in fact, made him more visible as a black man and thus more open to injustice and prejudice. He walked a perilous line between one self, the black man who could be snubbed at the doors of exclusive New York nightclubs, and another self, the showbiz whirligig whom everybody wanted a piece of. He couldn’t avoid being “Sammy Davis Jr.,” even when “Sammy Davis Jr.” was the butt of jokes, gossip, and irrational hate.

Success, money, career offers, work—all this kept the doubts at bay for some of the time, but he was still profoundly susceptible to anxiety about his hold on his life. He would read reviews and compare them to previous notices from the same critics; he would call up clubs he was playing and ask, his voice disguised, if it was still possible to get a table for that evening’s performance, collapsing in secret gratitude at the news that his shows were sold out. He was such a lost, addled soul that he began seeking answers in, of all places, Judaism, the religion of so many of the showbiz uncles who’d taken him so readily under their wings. He knew he could never escape who he was, but he kept searching for ways to somehow, maybe, evolve out of it.

Little by little, barriers fell as to the sheer force of his talent. In 1954, the Mastin Trio was invited not only to play the Frontier but to stay there, to eat, gamble, and socialize among the white customers and make a whopping $7,500 a week besides. Sammy would have to commute back and forth to L.A., where he was doing some record work, but it was a dream gig and they leapt at it. You simply couldn’t do any better than that.

Which was why it was so tragic, the car crash. Driving his Cadillac convertible to Los Angeles late on the night of November 19, 1954, listening to his own hit record “Hey There” on the radio, Sammy crossed into oncoming traffic in order to avoid a car that was making a U-turn right there in front of him on the highway. In the ensuing collision, his head hit the steering wheel. A stylized cone of chrome sticking out of the center of it like a battering ram put out his left eye.

His thoughts upon seeing his own mangled face in a piece of broken mirror as rescuers came to fetch him? “They’re going to hate me again.”

He was rushed to a hospital near Palm Springs, and Hollywood rushed to his side. Tony Curtis and Janet Leigh waited on him as he was in surgery; Frank visited constantly, as did a steady parade of showbiz lights; Jeff Chandler took the stage in his stead in Las Vegas—and nobody complained.

And when he came back, at Ciro’s, dancing and singing and gagging with maybe even more energy than before, not to mention a rakish eye patch, the world clapped its hands raw and cried with affection for him. The accident turned out to be the thing that put him over the top; he could do it all, even beat death. It was like Frank dying on-screen in From Here to Eternity: It made him forever more.

An entire Broadway show, Mr. Wonderful, was built around him. There was a rags-to-riches story to it, and Chita Rivera and Jack Carter had parts, but the point of it was Sammy’s nightclub-style performance in the second act, a partially scripted, partially free-form extravaganza of the sort that Al Jolson used to deliver when he was still in the legitimate theater. Mastin and Big Sam were on the stage with him, but it was Sammy’s name on the marquee. He did benefits, TV spots, radio appearances; he partied every night in restaurants and clubs and later in his hotel suite; he became a notorious tomcat on the prowl.

Soon enough, he was so big that the movies came calling. He played Sportin’ Life in Otto Preminger’s Porgy and Bess, and, in a great legends-of-Hollywood yarn, stunned producer Samuel Goldwyn into silence by declaring that he refused to work on Yom Kippur. “Directors I can fight,” Goldwyn lamented. “Fires on the set I can fight. Writers, even actors I can fight. But a Jewish colored fellow? This I can’t fight!”

A Jewish colored fellow: a whirling dervish: an up-and-coming superstar: just as he’d always dreamed.




America’s quest (#ulink_35a36b1d-3239-5129-99de-ff25a19dd688)


Poor Peter.

Try this for a curse: You have looks, breeding, savoir faire, but no real talent other than the ability to deploy your mien to ingratiate yourself to the world; nevertheless, fate rewards you with sex, money, fame, station; you spend a decade or two floating atop a gigantic bubble; you can do no wrong; then it all goes slowly sour; a few missteps, two or three vicious body blows, innumerable little jabs and lacerations, and one day you wake up in your own shit, bankrupt, dazed, strung-out, a laughing-stock, alone—Whatever Happened To You?

You wouldn’t wish it on a dog, but it’s all true. Fortune granted Peter Lawford more for less than anyone ever dared hope, then reneged with such perverse violence that even his most envious enemies took pity on him.

And it all started with such promise. Indeed, in a queer way, Peter Lawford was a sparkling gem in the crown of English glory. Scion of two distinguished military lines, he toured the world as a young boy, conquered Hollywood as a teen, and grafted himself onto America’s royal family as an adult. Handsome, poised, and, in a fashion, deft, he was a perfect figure, to American eyes, of British sophistication. You look at Peter Lawford in 1959, and you’re looking at quite possibly the most fortunate man who’d ever lived.

Which makes a nice twist on this most full-of-twists life. Because on the face of things, there wasn’t a chance in hell that the maimed bastard son of Lieutenant General Sir Sydney Lawford and May Somerville Bunny would ever get anywhere, under any circumstances. A one-in-a-million combination of traits, gifts, habits, predilections, biases, and flaws made and broke Peter—a curse that only May Lawford could have concocted.

Lady Lawford, as she insisted on being addressed with technical correctness but technical presumption as well, was more than just some daft embodiment of Victorian eccentricities and perversions—though she never failed to display such traits in excess. She was a genuinely disturbed woman whose contradictions, pretensions, and megalomania consumed her and those around her—chief of all, of course, her only child.

That May Lawford ever even had a child should be reckoned something of a miracle. In her own words (captured frighteningly in her illiterate memoir, Bitch!), she was repulsed by “that horrible, messy, unsanitary thing that all husbands expect from their wives.” Her own mother, although an otherwise worldly woman, and her father, a physician in the Royal Army, never told her the facts of life, and her first husband, another military surgeon, Harry Cooper, so respected his teenage fiancée’s chastity that he never importuned upon her for so much as a kiss before they wed.

Their wedding night devolved, as might be expected, into a horror show of fright, tears, frustration, anger, Harry finally inducing May with biblical verses about spousal obedience. From this merry start, the marriage went downhill, with sex as the chief sticking point. May grudgingly submitted once a month, and then only lay passively. Cooper endured six months of celibacy until he was posted to India; May didn’t join him. Alone in London, secure in the cloak of marriage, May passed her time in amateur theatricals and a bustling social life. (Where she had mortal aversions to actual physical intimacy, she had none whatever to open flirting.) Cooper received strange reports of May’s behavior and assumed the worst. One night, two and a half years after the wedding, the rejection, rumors, guilt, and grief overwhelmed him: He blew his brains out in his office with a pistol.

Strangely disassociating herself from this ghastly event, May met and was courted by another military surgeon, Ernest Aylen, and married him within two years of Cooper’s death. Once again, the fruits promised by May’s quite modern behavior proved illusory when her wedding night arrived. Aylen, however, was made of tougher stuff than Cooper; his marriage became a kind of swap meet, with sex a form of currency. Once a month, May would allow herself to be “mauled,” but only when rewarded prior to the act with jewelry. “I felt like a tart,” she confessed, “a French tart!”

She didn’t act the part well: In his priapic despair, Aylen lashed out at her, “I’d rather be in bed with a dead policeman!” Claiming his wife’s two favorite bits of pillow talk were “Don’t!” and “Hurry up!,” the wretched doctor cried, “It’s a good thing you don’t have to make your living off of sex; you’d starve to death.”

After nearly two poisonous decades and many separations, the two agreed at last to live apart. As before, separation from her husband afforded May the opportunity to find another. This time she set her sights higher than the army hospital, however. She became acquainted with her husband’s commanding officer, Sydney Lawford, a dashing hero of the war himself mired in an unhappy union.

He was a hell of a catch. “Swanky Syd,” as fellow soldiers branded him in recognition of his sartorial dash, had been knighted for his legendary valor in the fight against the kaiser. His men adored him; women were invariably taken with his combination of physical charm and high rank.

May, though still married to a junior officer in his charge, became a favorite of the general’s, and she reciprocated the attention, if, as usual, a bit grudgingly. When, two years into her separation, she found herself a guest at his sister’s country estate, she allowed him to escort her to her bedroom after dinner; he followed her inside; “Oh, no, not this again,” she thought to herself, but this fish was too big not to reel in over such a qualm. She granted the general her meager favors, and, at age thirty-eight, conceived their only child with their very first intimate act.

When May’s pregnancy became apparent, she importuned upon Aylen to do the noble thing; although the baby wasn’t his, he agreed to stay married to her until it was born, granting it the generous gift of his name. The general, too, convinced his spouse to play along for decorum’s sake. But when the baby, christened Peter, was born in September 1923, there was no saving either marriage: Divorce petitions, filed within days of the birth’s being registered, were granted within a year; one week after that, May and the general were wed.

It may have seemed a coup on paper, but May’s lot was decidedly mixed. The scandal surrounding Peter’s birth drove the Lawfords from the country; they were to live in France, India, the South Pacific, Hawaii, Florida, and California for the rest of their days, maintaining, frequently enough, a sufficiently high standard of living to seem gay globe-trotters, but, in reality, terrified to return home to the hisses of English scandalmongers.

The general, like Cooper and Aylen before him, expected sexual compliance from his wife, but May hit upon an ingenious ruse to keep him at bay, responding to his overtures by “slipping to the kitchen and getting uncooked meat which I rubbed against my nightdress. I was always having my period!” Time was on her side: The general was fifty-nine when they married and soon lost his interest in his wife’s body. “I never,” May boasted, “had sex with him after Peter was three.”

Ah, yes, of course, Peter, the device by which May had landed the general but a horrid encumbrance nevertheless. May said she’d nearly taken her first husband’s way out during childbirth, putting a revolver in her mouth in response to the pains of labor. Delivered of her child, she suffered the indignities of his infancy: “I can’t stand babies,” she groused. “They run at both ends; they smell of sour milk and urine.”

Peter was, whenever possible, fobbed off on nurses and servants. And, of course, being a child of May’s, he was raised with a combination of notions both indulgent and bizarre. “Peter wasn’t brought up, he was dragged up,” said a sympathetic cousin—and the phrase was keenly apt. Like other Englishwomen of her era, May dressed her boy as a girl, but she persisted in the habit, at least in private, until Peter was nearly in his teens. She allowed him to sleep in his parents’ bed until he’d nearly hit puberty and instilled in him a fanatical discipline for cleanliness (a fussiness also shared by Frank Sinatra): He bathed and gargled at least twice every day. And May had ideas about diet, too. Peter was allowed only a strict regimen of fruits, vegetables, whole-wheat bread, and, rarely, meat, with sweets of any sort taboo.

Peter was never formally schooled and spoke only broken English for much of his childhood (French was, in a way, his native tongue); he was probably some sort of dyslexic, but he had to diagnose his problem—and treat it—on his own. Tutelage in nonscholastic matters, unfortunately, was provided him by others: At nine, he became a target of pedophiles, both male and female—a horror that lasted through his teens.

May knew nothing of Peter’s tortures, concerning herself instead with cultivating his desire to playact and perform. A perfect Little Lord Fauntleroy, Peter charmed crowned royals, ships’ captains, film directors, and journalists alike with his impeccable manners and precocity. At eight, he played a part in Poor Old Bill, an English kiddie film. He acquitted himself so well that he surely would’ve received more offers of work had not the general put his foot down—“My son a common jester with cap and bells, dancing and prancing in front of people!”—and hied the family off on an extended sojourn to India and the South Pacific.

It would be seven years before Peter had another chance to act, and then only because of a freak accident that maimed and nearly crippled him. Returning to his parents’ French Riviera home after a game of tennis, he shattered a window-pane and sliced his right arm straight through to the bone. The first doctor to examine the arm declared it unsalvageable. Counseled to amputate, May responded with aplomb—“Fuck off, doctor!”—and found a physician willing to stitch Peter’s muscles back together. The arm was saved. To combat the lingering pain and stiffness, however, the Lawfords were advised to relocate Peter to a dry climate—Los Angeles, say. Although the arm would never fully heal (in its natural state of relaxation, Peter’s right hand was clawlike), it gave him, perversely, his ticket to success.

He found bit parts right away, but it would take five more years of on-again, off-again work before Peter was granted a full contract by MGM. But when the deal was done, it was as near as a twenty-year-old could imagine to a golden ticket from God Almighty.

May and the general thrived as well, becoming staples of the British expatriate community in Los Angeles and earning a reputation as grand old eccentrics among the Hollywood crowd: Frank once asked May about her son, and she responded in what she thought was perfect Hollywoodese—“Peter? That schmuck!”—bringing him to his knees with laughter.

Aside from affording May a society in which she could act the grande dame, Hollywood gave Peter the opportunity to chase every famous skirt in the world: Lana Turner, Rita Hayworth, Anne Baxter, Judy Garland, June Allyson, Ava Gardner … you name her. His appetites weren’t necessarily orthodox: He had chances, for instance, to bed both Elizabeth Taylor and Marilyn Monroe, but refused the former because she had what he considered “fat thighs” and the latter because her living room was dotted with chihuahua poop when he rendezvoused with her. But he was always being floated in the gossip pages as some pretty young thing’s fiancé, and he was swain enough to travel with sexual gear—towels, blankets, mouthwash, changes of clothes—in his car.

Despite this impressive record of cocksmanship, though, he was constantly plagued by rumors of homosexuality. He was chummy with Van Johnson and Keenan Wynn, and scuttlebutt put all three of them in bed together with Wynn’s wife, Evie (who, in fact, married Johnson within hours of getting a divorce from Wynn). Later on, stories circulated about trysts with other young actors, of loitering in notorious public men’s rooms, of all-boy parties in Hawaii, of Peter’s being “the screaming faggot of State Beach.” Most insidiously, May Lawford responded to her son’s growing apart from her by walking into Louis B. Mayer’s office and telling the prudish studio chief that Peter was a homosexual, a charge that Peter was forced to refute by soliciting the explicit testimony of Lana Turner; the canard drove a permanent wedge between him and his mother.

At MGM, Peter was little more than an English pretty boy, but he had the good fortune of appearing on the scene just as Freddie Bartholomew’s career was in decline. He played light romantic roles well, didn’t shame himself out of the business when he essayed a bit of song and dance, could play gravely enough for small roles in serious drama: a good all-round B-movie lead, or nice support for an A production. He’d never make them forget Olivier, but he was a reliable asset for a studio at something like its height.

Despite his lack of professional distinction, Peter was a highly sought-after invitee, an especially glittering extra in the diadem of Hollywood nightlife; he became known as “America’s guest,” as much for his habit of showing up at every noteworthy party as for his reluctance to pick up a dinner tab.

There was, however, another social group with which Peter mingled and to whom he showed an especially generous and loyal side of his nature. Having been introduced to surfing as a young boy in Hawaii, Peter had a genuine love for beach life, and he spent all the time he could at the shore, catching waves, playing volleyball, and steeping himself in the lingo and rituals of beach bums—a cultish society whose vocabulary and attitudes would later be borrowed, in a fashion, by the Rat Pack. May hated the ne’er-do-well manner of this crowd—which, of course, attracted her son to it even more. Moreover, Peter relished mixing his surfing and acting cronies, watching the cultures clash with sophomoric delight.

As he neared his thirties and seemed stuck on a treadmill of light comedy and dull drama at MGM, as his genteel parasitism grew wearying, two life-altering events befell him. At eighty-seven, General Lawford died contentedly in his garden, so deeply rattling Peter that he initially refused to return from Hawaii and endure the funeral. Nine months later, he found himself engaged once again, seriously this time, to Patricia Kennedy, the strong-willed sixth child of Irish-American Croesus and political dynast Joseph P. Kennedy.

Pat Kennedy was not a soft, obliging Hollywood gal. She was not as pretty as Peter’s other fiancées, nor as sensual, but she was sharp-witted and independent and spunky. She didn’t just throw open her legs for him because he was a handsome movie star who talked nice; she challenged his opinions and stood up for her own beliefs in a fashion that must’ve reminded Peter at least a little bit of May. Peter and Pat drew toward one another with surprising ease, not slaving over one another but respectful of their mutual independence. They were in their thirties and set in their ways; their relationship seemed as much one of siblings as of lovers.

Everyone knew what Pat saw in Peter, but many observers, especially Pat’s very jaded father, Joe Kennedy, saw something suspicious in Peter’s commitment to the relationship: Pat, though smart and vivacious, was no beauty, so Peter’s affection tended to give off a mercenary vibe, at least at first blush; moreover, Joe was appalled at Peter’s baroque Hollywood manner—the actor wore red socks to their first meeting—which seemed to lend credibility to the gossip he’d heard about Peter’s catamitic proclivities.

To satisfy himself as to the first matter, he had Peter agree to a prenuptial pact that protected Pat’s fortune (at the crucial moment, though, he forgave Peter from signing it, satisfied at his willingness to do so). As for the other, he importuned upon J. Edgar Hoover to open his infamous store of Official and Confidential files, which revealed that Peter was a well-known patron of Hollywood prostitutes. Rather than blanch at this evidence of Peter’s moral character, lascivious Old Joe, who approved of hearty sexuality, even in potential sons-in-law, was delighted. The courtship climaxed in a lavish April 1954 wedding. Peter Lawford had graduated from waning pretty-boy actor to American royal—a hot number all of a sudden.

Frank, for one, took notice.

Through the dusty haze kicked up by his killing schedule, Frank had begun to set his sights on something higher than mere success as a singer, actor, or even mogul.

He had always seen himself as a representative man, a “little guy” whose ascent in the world was a vindication of his parents’ immigration to America and his own combative resiliency in overcoming ethnic prejudice, loneliness, and, if you could call it that, economic privation. It wasn’t enough for a guy like that to simply be busy at his job—Sammy, say, was at least as active. No, he had to have an impact on the world.

So in 1958, when it looked like this handsome young senator from Massachusetts, Jack Kennedy, would make a bid for the presidency, Frank decided to become part of it the way he did everything else he was passionate about: both hands, feetfirst, no looking back.

It was a sign of his own success. Into his forties, he had come to see himself as a man of station and discernment, a world-beater worthy of helping shape the future. But it was also a kind of inheritance: He had learned about politics by watching his mother work the ward system in Hoboken. Dolly Sinatra had the barest formal education and should’ve been kept from achieving any kind of power as a woman, an immigrant, as a midwife and abortionist. But she had spunk: She married a Sicilian against her Genoese parents’ will; she dressed up like a man to watch her husband box in men-only joints; she exploited her fair features to pass herself off as Irish; she drank; and she talked like a stevedore, cursing vividly even when, in her dotage, attended constantly by a nun.

Such spirit distinguished her from other Italian mothers of her generation, but not so dramatically as did her political activities. In a corrupt little town run by an ironclad political machine, she won over the kingmakers by consistently turning out the vote and becoming the person to whom her neighbors came for jobs, food, and the sort of generic wheel-greasing and ass-saving they associated with Men of Respect. Dolly, of course, could never hold office, but she had the ears of men who could forgive crimes, erase debts, grant sinecures, and make life bearable or hellish as they chose. With her assistance, scores of Hoboken’s Italians made their way toward the better life they’d come to America to enjoy.

Dolly didn’t achieve her station simply by virtue of gumption. She worked hard at her glad-handing and ward-heeling, and she was even willing to broker her only child for political advantage; as his godfather, she chose none of his five uncles or other male relatives but Frank Garrick, an Irish newspaperman whose uncle was a police captain. The choice proved strangely fateful. In a mix-up that marked the child forever, the priest at the baptism named the boy Francis—for Garrick, whom he somehow came to believe was the father—instead of Martin, the name Dolly and Marty had chosen. Dolly, still recuperating from the delivery, wasn’t at the ceremony to protest, while Marty stood there in characteristically mute impotence, saying nothing as his patrimony was diluted.

For all that she fussed over her boy, for all the clothes and spending cash and good words put in with people who could get him jobs and, later, gigs, Dolly nevertheless found it more exigent to leave him to the care of others and pursue her political work. Frank was fobbed off on relatives and neighbors. Politics, in effect, was the sibling from whose charms he could never divert his mother’s eye; naturally, it came to seem to him an extension of family life, a way of linking up with his absent mother and creating a community around himself.

Plus it had perks. Dolly got Marty a well-paying job in the city fire department despite his inability to pass a written test, and she eventually got him promoted to captain—though few of his colleagues reckoned him worthy of the honor. Comfort and largesse flowed from political power, Frank could see, and when he was old enough to court it he did.

Frank’s political instincts weren’t entirely mercenary. He genuinely felt compassion for the underdog and championed civil rights as soon as he had a platform from which to be heard. In 1945, virtually the moment his career as a solo artist granted him a public profile, he spoke out against prejudice at a high school in Gary, Indiana, where black students had recently been admitted to a hostile reception from whites.

He also godfathered a curious little film project, The House I Live In, a ten-minute docudrama in which he preached a lesson in ethnic harmony to a mixed-race gang of street kids. “Look, fellas, religion makes no difference except to a Nazi or somebody as stupid,” he explained. “My dad came from Italy, but I’m an American. Should I hate your father ’cause he came from Ireland or France or Russia? Wouldn’t that make me a first-class fathead?” Then he launched into the title song, a syrupy ode to American equality, and ended by admonishing his audience of converted Schweitzers, “Don’t let ’em make suckers out of you.” (The film won Special Academy Awards for its creators, including Sinatra, director Mervyn LeRoy, and screenwriter Albert Maltz, a future member of the famous Hollywood Ten group of blacklisted authors.)

And Frank practiced what he preached. He was among the earliest and most visible proponents of civil rights in all of show business. He worked and traveled with black musicians, always insisting that they get treatment equal to that afforded him in restaurants and hotels, and he did what he could to give a boost to such acts as the Will Mastin Trio.

Frank’s political liberalism even led him to a deliberate reprise of the accident that gave him his own name. His only son was always known as Frank Jr., but the kid was actually named Franklin Wayne Emmanuel Sinatra in tribute to, among others, his father’s hero Franklin Roosevelt.

And he didn’t merely communicate his convictions in symbols. On the night in 1944 that FDR beat Thomas Dewey, Frank, in New York for a series of concerts at the Waldorf-Astoria, celebrated with a bar crawl in the company of Orson Welles. The two decided to cap their gambols by razzing right-wing columnist Westbrook Pegler, also resident at the hotel. They rowdily pounded the door to Pegler’s suite to no satisfactory response, then returned, discouraged, to their debauch.

Four years later, Frank won $25,000 on a bet that Harry Truman would be reelected. In 1952, Frank campaigned for Adlai Stevenson, and then again in 1956, when he sang the national anthem at the opening session of the Democratic National Convention in Chicago and stuck around to get a close-up look at the action. (He caused some of his own as well. After he sang “The Star-Spangled Banner,” Frank was on his way offstage when he was grabbed by Speaker of the House Sam Rayburn, who asked him if he’d also be performing “The Yellow Rose of Texas.” “Get your hands off the suit, creep,” Sinatra replied.)

It was there that his eye was first caught by Jack Kennedy, then a dazzling, photogenic young senator with a pretty wife and a baby on the way. After Stevenson had secured the presidential nomination, he’d thrown the vice-presidential slot to the convention without naming a candidate of his preference; Kennedy, against his father’s wishes, sought the spot and was locked in battle for it with Tennessee’s Mafia-baiting senator, Estes Kefauver. Frank hung close to the Kennedys as the convention progressed, impressed with the amount of money and degree of organization the family applied to the campaign. When Kefauver won the nomination, the Kennedys were briefly stunned.

Then Frank noticed Bobby, the senator’s younger brother and campaign manager, telling folks around him, “OK, that’s it. Now we go to work for the next one.” The stubborn will in those words was invitingly familiar, an echo of Dolly’s gumption. Frank determined to keep tabs on Jack Kennedy.

He just needed an in.

And what do you know: At a dinner party at Gary and Rocky Cooper’s house in the summer of ’58, there was Peter.

Frank had seen Lawford among his in-laws at the Democratic convention two years earlier; he was working, incongruously, with Bobby, trying to gain support from the Nevada delegation, which was run by Peter’s sometime Desert Inn boss, Wilbur Clark.

At the time, even though they’d been chummy at MGM in the forties, Frank was carrying a grudge against Peter—a misunderstanding about a woman. In late ’53, after she and Frank had split, Ava Gardner had a drink with Peter at an L.A. nightspot. When Louella Parsons reported the little tête-à-tête, Frank went bonkers, calling Peter at two in the morning and shouting at him, “Do you want your legs broken, you fucking asshole? Well, you’re going to get them broken if I ever hear you’re out with Ava again. So help me, I’ll kill you.”

Peter was terrified: “Frank’s a violent guy and he’s good friends with too many guys who’d rather kill you than say hello.” He asked a friend to intervene, and when Frank realized that it really was just an innocent drink, he cooled off. But he didn’t bother with Peter until he’d become a Kennedy, and even then grudgingly. Pat Kennedy, presuming with some reason to install herself as a society queen in Hollywood, had tried for years to have Frank attend some or other event; he had always brusquely refused her.

But as her brother’s star rose, and as Frank’s interest in politics merged subtly with his naked ambition, Peter’s near-trespass didn’t seem so awful. So it came to pass that on that fateful night at the Coopers’, with Peter working late at the studio on his Thin Man TV series, Pat found herself rapt in conversation with Frank, who had gone out of his way to break the ice with her. Dolly Sinatra’s boy, ever aware of who held the power, knew that she could provide quite a high level of access to what was clearly a growing political concern.

When Peter arrived at the party—bandaged after an injury on the set—he was amazed to discover his wife and Frank amiably chatting. He quietly took a seat at the table, not knowing what sort of greeting to expect. Frank looked at him, then looked back at Pat and said, “You know, I don’t speak to your old man.” The two of them laughed, and Peter did, too, a beat later, when he realized he’d been forgiven.

Within a few months, a suddenly intimate relationship formed between Peter and Frank. When Pat had a daughter that November, the child was christened Victoria Francis—the first name in recognition of her Uncle Jack’s reelection to the Senate that day, the second in recognition of Frank.

The following year, vacationing together in Rome, Frank actually apologized to Peter for the way he’d blown up over Ava: “Charlie, I’m sorry. I was dead wrong.” It was the rarest of moments: another smile of fate upon Peter Lawford.

He and Frank became fast pals, frat brothers with nicknames, booze, broads, matching cars. He got work: the Pacific theater war movie Never So Few, his first picture in six years, came his way strictly because Frank insisted on it—and at a price that made MGM choke, also at Frank’s insistence. The two became partners in a Beverly Hills restaurant, Puccini, and served spaghetti and chops to the stars; Frank was so glad to have Peter on board that he put up both halves of the seed money.

And Frank had his avenue to Jack Kennedy. Peter admitted that he and his wife “were very attractive to Frank because of Jack.” Sure enough, once he was connected, Frank leapfrogged over the guy he came to call “the brother-in-Lawford” and ingratiated himself with both Jack and Old Joe.

Indeed, though his cavorting with Jack was famous, Frank may have been closer to the father, the primary source of money and power in the family and the one most familiar with the courtship of disreputable outsiders, whether they were mobsters, corrupt politicians, larcenous power brokers, or temperamental pop stars. Joe had, it was said, prevailed on Sam Giancana to help erase public records of Jack’s annulled 1947 marriage to a Florida socialite; he called upon the Chicago don again in the late fifties to smooth things between himself and Frank Costello when Kennedy’s reluctance to recognize his obligations to the New York mobster almost resulted in a contract on his life; later, during the 1960 presidential campaign, he was seen dining at a New York restaurant with a select group of top mobsters from around the country. Jack may have had all the buzz, but Joe was, in Frank’s eyes, the real man of the world in the family.

If Jack didn’t inherit his father’s intimacy with the ways of men of dark power, he had plenty of Joe’s lustful wantonness. In this, Frank made a perfectly agreeable playmate, especially when it came to the young senator’s favorite diversions—women and gossip. The two began partying together soon after Frank reconciled with Peter—“I was Frank’s pimp and Frank was Jack’s,” Lawford ruefully recalled. “It sounds terrible now, but then it was really a lot of fun.”

Whenever Jack came to the West Coast for fund-raising or other official duties, he made sure to hook up with Frank, more often than not with Peter in tow. They didn’t hide their budding friendship from the press: “Let’s just say that the Kennedys are interested in the lively arts,” Peter told a reporter, “and that Sinatra is the liveliest art of all.”

In November 1959, Jack extended a trip to Los Angeles by spending two nights at Frank’s Palm Springs estate. Frank got a huge belly laugh out of him by introducing him to his black valet, George Jacobs, and suggesting that the senator ask the mere servant about civil rights. “I didn’t like niggers and I told him so,” Jacobs remembered. “They make too much noise, I said. The Mexicans smell and I can’t stand them either. Kennedy fell in the pool he laughed so hard.”

Fun over, Jack had to return East, even though he would’ve just loved the next night, when Frank, joined by Joey Bishop, Tony Curtis, Sammy Cahn, Jimmy Durante, Judy Garland, and about a thousand others toasted Dean at the Friars Club. But he made a mental note to catch up with them the next time they’d all be together: the following winter in Las Vegas when they’d be making a movie.

It was one last bit of patrimony thrown Peter by his new best friend. Frank had taken a literary property off his hands: Ocean’s Eleven, a movie about a group of World War II vets who hold up Las Vegas.




I was told to come here (#ulink_cac480c7-2701-52d7-97ba-a0134f672831)


Never So Few, Peter’s comeback picture, was shaping up into quite a party, maybe even bigger than Some Came Running. After rescuing Peter from TV, Frank used his weight to get Sammy a $75,000 part. (The producers had balked, “Frank, there were no Negroes in the Burma theater.” And Frank shot them down: “There are now.”)

To Sammy, it only seemed proper: With his talent, youth, versatility, vitality, and powerful friends, he was on the verge of being the biggest star of his time.

Then he stumbled. Speaking to a radio interviewer in Chicago, he trashed Frank, just trashed him: “I love Frank and he was the kindest man in the world to me when I lost my eye in an auto accident and wanted to kill myself. But there are many things he does that there are no excuses for. Talent is not an excuse for bad manners—I don’t care if you are the most talented person in the world. It does not give you the right to step on people and treat them rotten. This is what he does occasionally.” (As a coup de grâce, asked who the number one singer in the country was, Sammy replied that it was he. “Bigger than Frank?” “Yeah.”)

It didn’t take long for him to regret his words. “That was it for Sammy,” Peter remembered. “Frank called him ‘a dirty nigger bastard’ and wrote him out of Never So Few.” The part went to Steve McQueen—one of his first important roles. Sammy, who was nearing $300,000 of debt, certainly regretted losing the work, but he was far more concerned with the way Frank had written him off.

“You wanna talk destroyed?” said Lawford’s manager, Milt Ebbins. “Sammy Davis cried from morning to night. He came to see us when Peter was at the Copacabana, appearing with Jimmy Durante. He said, ‘I can’t get Frank on the phone. Can’t you guys do something?’ Peter told him, ‘I talked to Frank but he won’t budge.’ ”

Sammy was banished from Frank’s very presence. “For the next two months Sammy was on his knees begging for Frank’s forgiveness,” Lawford recalled, “but Frank wouldn’t speak to him. Even when they were in Florida together and Frank was appearing at the Fontainebleau and Sammy was next door at the Eden Roc, Frank still refused to speak to him.” (He wouldn’t even be in the same building with him; he had Sammy banned from his shows and wouldn’t go next door to watch him perform.)

But there must have been some sort of bond there, because Frank relented, even when he had nothing in particular to gain from it. “Frank let him grovel for a while,” Peter said, “and then allowed him to apologize in public a couple of months later.”

The reconciliation went as far as new offers of work. Frank was assembling the cast of Ocean’s Eleven. He would let Sammy back in the fold in time to take a role in the movie, but one with a bit of a sting to it: For no obvious reason other than petty spite, Sammy was cast as a singing, dancing garbageman.

Sammy was nevertheless overwhelmed to be asked aboard because Ocean’s Eleven had begun to take shape as something more than just a movie. Frank decided that he would film it at his place, the Sands, and fill it with chums—everybody from Dean and Sammy and Peter to vibraphonist Red Norvo and actor buddies like Henry Silva and Richard Conte.

As a bonus, there’d be a freewheeling live show in the Copa Room each night featuring the actors. For that, Frank realized, he’d need a traffic cop, somebody who fit in with the A-list names but with the nightclub experience to get guys on and off the stage and who wouldn’t embarrass himself in front of the movie camera.

He had just the guy in mind: Joey Bishop.

Frank called him “the Hub of the Big Wheel” and preferred him to almost every other stand-up comic. He addressed the world with a stiff-shouldered, side-of-the-mouth delivery that was as much jab as shrug, a deft emcee who knew how to keep the show moving and not draw attention from the stuff the people really came to see.

But nevertheless, to most observers it was the Big Mystery of the Rat Pack: What was Joey Bishop doing up there?

Frank, Dean, and Sammy were clearly peas from the same pod, and Peter was a guy who swung like them and provided entrée to the Kennedys.

Joey, however, had neither powerful relatives nor a reputation as a roué, and as performer he was plainly one-dimensional: He acted about as well as Sammy, sang about as well as Peter, danced about as well as Dean.

But he had an air about him—the world-weary little guy with the plucky, jaded attitude—that appealed to Frank, who indirectly sponsored his career from the early fifties on. Other comics would try to win an audience with dazzling wit or class clown antics. Joey went the other way, wearing a stage face that suggested he found the idea of entertaining the crowd slightly undignified. It was largely a matter of style—“My technique is to be overheard rather than heard,” he liked to say—but there was temperament there as well.

“My cynicism is based upon myself,” he told a reporter in a self-analytic moment. “I don’t tell audiences to be cynical. I just bring them down to reality. I feel that when you try to cheer somebody up, you probably have a guilt complex. When a child sulks, eventually you ask him what’s wrong because you probably feel you’re the reason he’s sulking.”

He should’ve known. For a guy best known as a chum among chums, he could be taciturn, moody, aloof, exclusive. Even when he was among the honored guests at the Party of Parties, he kept to himself. “I was always a go-homer,” he admitted. “When we were doing the Summit Meeting shows in Vegas, the other guys would stay up until all hours, but I went to bed. I may rub elbows, but I don’t raise them.”

In fact, he gave off an almost perverse aura, as if he resented his own success and the hand his padrone, Frank, had in it. “I met Frank in 1951,” he said, “and, sure, he’s helped me a lot. We’ve worked together many times, and I enjoy it, but we don’t socialize afterwards.” And he didn’t care if he pissed him off. During the Summit, Frank was feuding with a Vegas club owner and declared the guy’s joint officially off limits; Joey, the story went, went anyhow.

His independence was his trademark, his currency, and he gambled that Frank would read it not as insolence but rather a sign of maturity and maleness. It almost backfired. “I have always respected Frank’s moods,” Joey recalled. “I have never walked over to Frank when he’s having dinner with someone and just sat down uninvited. Which, I think, was another reason why he chose to have me with him. Then it got to the point where he would say to me, ‘What’s the matter, Charlie? You’re getting stuck up?’ ”

It was a fine line that he braved. Reporters who got close to him during the Rat Pack era seemed genuinely to like him, but few of them depicted him as, in the cliché of the showbiz puff piece, rough on the outside but sweet at heart. “You can pretend to be happy if you want to,” he told one; “I’m a worrier by nature,” he confessed to another. “No worrier is ever good-humored. I don’t know if a worrier ever is happy.”

Of all the moons in Frank’s orbit, only Dean had anything like Joey’s need for independence. They were the only ones who ever seemed willing to do without Frank’s blessing—or even to outright defy him. Maybe it was because they had a few things in common. Unlike Sammy, Frank, and Peter, they’d grown up with siblings and stable homes, and their career successes came relatively late in their lives. Dean was thirty when he broke through with Jerry Lewis; Joey was nearly forty when the public and the business started taking real notice of him.

He’d had a few brushes with the big time, and their failure to materialize seemed to cauterize him against the world all the more: “Once, when I was sharing a bill with Frank at the Copacabana, the audience kept me going 28 minutes overtime almost every night,” he told a reporter. “Frank kept telling me, ‘You’re solid now—you’re on your way’ Know what happened? I didn’t work for six weeks.”

It was the kind of mixed success his career had accustomed him to. He’d been trying to make it big for more than twenty years when he was picked by Frank for the cast of Ocean’s Eleven. Prior to that, he’d glimpsed the top frequently enough to develop a sardonic attitude about not ever having reached it. He was a plugger, and he knew it: “I’m a slow starter. There can never be a big, hitting thing with me … I don’t have the type of personality that shatters you right off. I have to work at being funny. The work is hard. I’m hard sometimes.” That way he had of dismissing things, deflating things—it came naturally to a guy who’d had to fight for everything and even then didn’t quite get it.

He was born in the Bronx in 1918, the fifth and last child of Jacob Gottlieb, a machinist and bike repairman, and his wife, Anna. He was sickly—the littlest baby, he used to brag, ever born in Fordham Hospital (he told the story to an incredulous Buddy Hackett, who responded with a look of concern, “Did you live?”). At three months, the family moved to Philadelphia, where the slight baby grew into a slight child.

The Gottliebs never had much money, and the kids learned to tiptoe around Jacob, who was always irritable with the vagaries of his business. He could be nurturing, encouraging Joey and his older brother Morris in pursuing music (Jacob himself played the ocarina and sang Yiddish songs), but he could also terrify them—a kid could get spanked for the mere offense of coming home with a dime, a sum their father believed no child could earn honestly. Joey, who began his schooling as an apt, engaged student, once won a fifty-cent prize in a spelling bee; when he came home, he caught a beating from one of his brothers who, in imitation of Dad, was certain the money was stolen.

After that spelling bee, Joey did nothing to distinguish himself as a student other than quit altogether after two years of high school to work in the bike shop. It was a dispiriting experience—“What would anyone want with a bicycle during the Depression?” he asked a reporter years later—and being around Jacob all day was no picnic. Joey took on work in a luncheonette and then decided he’d move to New York to try and break into show business.

Show business? Okay, maybe he was funny around school and the shop, always ready with a cocky, cutting jibe, and he’d won a few amateur-night contests with his patter, his impressions, even a bit of tap dancing. But this wasn’t exactly the sort of ambition Jacob had tried to instill in his sons—“It was a choice of either getting a steady job or getting killed,” Joey remembered. He told his folks he’d stay with relatives in Manhattan and keep a day job; they gave him the green light. For a brief moment, it looked like he might pull it off—he worked in a hat factory by day and got a gig as an emcee in a Chinese restaurant on Broadway at night. But soon enough he was back with the smock and the spokes and the inner tubes in Philly, a flop.




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