Frank Sinatra 1965: Inside The Voice’s World with LIFE Magazine
Among the titans who defined 20th-century popular culture, Francis Albert Sinatra stands out for his enduring presence and captivating enigma. Spanning seven decades, the man who journeyed from a skinny kid in New Jersey to the “Chairman of the Board” left an indelible mark on music, film, and style, influencing generations and embodying an iconic image: the lone figure in a tuxedo, mic in hand, under the spotlight. The year Frank Sinatra 1965 marked a significant milestone as he turned 50, a moment LIFE magazine aimed to capture.
A Pivotal Year Captured by LIFE
In 1965, LIFE photographer John Dominis and editor Thomas Thompson gained rare access to Sinatra’s inner circle. As the magazine phrased it, they were “permitted” to spend time with the singer, his friends, family, and collaborators for an intended cover story. This unique opportunity resulted in an extraordinary glimpse into the intensely private world of Frank Sinatra 1965, offering insights into his views on fame, his craft, and the man behind the legend. The feature, published on April 23, 1965, showcased Dominis’s photographs, including many previously unpublished images that revealed the layers of this complex figure.
Frank Sinatra relaxing with his dog Ringo at his Palm Springs residence in 1965
The Enigma of Sinatra
LIFE’s extensive 16-page feature, titled “The Private World and Thoughts of Frank Sinatra,” underscored that even 25 years into his career, Sinatra remained as volatile and fascinatingly inscrutable as ever. The magazine described him vividly:
The kid with the high-pitched voice that came out of the throat wrapped in the floppy bow tie is going to be 50 this year — and Frank Sinatra remains the most controversial, powerful and surprising entertainer around. He is a man who will angrily throw an over-cooked hamburger at his valet or an ashtray at an inept assistant — and yet never fires anyone from his huge staff of aides and hangers-on. He will spend 10 minutes of his nightclub act attacking a woman columnist so venomously that the audience gasps — and will send $100,000 to a Los Angeles college with the strict instructions that the gift not be made public. He sneers “Charley brown shoes” at people he thinks are squares and always says “thank you” when someone asks for his autograph. He is the legendary ladies’ man — and he says he has flunked out with women. He cannot read music, yet he has taken popular singing and made of it an art. He is the finest living singer of popular songs, an astonishingly good actor, an ambitious director, a shrewd businessman. . . .
Frank Sinatra shaving in 1965, showcasing a glimpse into his private routine
Sinatra on “Me and My Music”
The centerpiece of the LIFE feature was a long article purportedly written by Sinatra himself, titled “Me and My Music.” In it, he shared remarkable insights into his artistry and his perspectives on peers.
Crafting “The Voice”
Sinatra revealed the meticulous effort behind his seemingly effortless style. He aimed to make his voice function like an instrument, requiring exceptional breath control.
It was my idea [in my mid-20s] to make my voice work in the same way as a trombone or a violin — not sounding like them, but “playing” like those instruments. The first thing I needed was extraordinary breath control, which I didn’t have. I began swimming every chance I got in public pools — taking laps under water and thinking song lyrics to myself as I swam, holding my breath.
He also emphasized the crucial role of the microphone:
One thing that was tremendously important was learning the use of a microphone. Many singers never learned to use one. They never understood, and still don’t, that a microphone is their instrument…. [Instead] of playing a saxophone, they’re playing a microphone.
Frank Sinatra rehearsing in 1965, focusing intently on his performance
Learning and Interpreting Songs
Despite his musical prowess, Sinatra admitted his unconventional learning method:
I don’t read a note of music. I learn songs by having them played for me a couple of times while I read the lyrics. I can pick up the melody very quickly. I learn the lyrics by writing them out in long hand. When I get a new song, I look for continuity of melody that in itself will tell a musical story. It must go somewhere. I don’t like it to ramble. And then, by the same token, I like almost the same thing — more, as a matter of fact — in the lyrics. They must tell you a complete story, from “once upon a time” to “the end.”
Frank Sinatra collaborating with legendary bandleader Count Basie at the piano during 1965
Views on Fellow Artists
Sinatra didn’t shy away from sharing his opinions on contemporary singers:
For my money, Tony Bennett is the best singer in the business, the best exponent of a song. He excites me when I watch him — he moves me. Vic Damone has better pipes than anybody, but he lacks the know-how or whatever you want to call it. Take Lena Horne, for example, a beautiful lady but really a mechanical singer. She gimmicks up a song, makes it too pat. . . .
His candid thoughts, much like his unique phrasing of familiar standards, followed their own compelling logic.
Frank Sinatra backstage with Natalie Wood and Sammy Davis Jr. in New York, 1965
Enduring Legacy
Frank Sinatra passed away in May 1998, but his influence remains potent. Music critic David Hadju’s sentiment, “To hell with the calendar. The day Frank Sinatra dies, the 20th century is over,” resonates deeply, perhaps feeling even more prophetic as time passes. The 1965 LIFE feature captured a snapshot of this icon at a specific moment, yet the description of him as “The most controversial, powerful and surprising entertainer around” still feels accurate decades later. The window into Frank Sinatra 1965 reveals not just the entertainer, but the complex, driven, and utterly unique individual who shaped modern entertainment.
