Latest news with #Sinatra
New York Post
11-07-2025
- Business
- New York Post
9 secret products Amazon Prime Day put on sale for day 4 — ends tonight
New York Post may be compensated and/or receive an affiliate commission if you click or buy through our links. Featured pricing is subject to change. It's Day 4, the final, final last call of Prime Day 2025 and if you're wondering 'Is Prime Day still going on?' the answer is yes, but not for long. As in, not-past-midnight long, Amazon's Today's Big Deals are still dropping until 11:59 p.m. PDT, and we've rounded up the stealthiest sales that are somehow still in stock. Proof that miracles do exist, or rather, Capitalism is still going strong. Not a Prime member yet? Sign up for a free 30-day trial to get two-day shipping with no cost to you. Think Prime Day guitar deals, Kindle Unlimited Prime Day steals, and Prime Day computer deals that deserve a standing desk ovation. If you've been Googling 'When is Amazon Prime Day over?' or 'How long is Amazon Prime Day 2025?' Y'all, it ends today. This is it, or as Sinatra once sang in My Way, 'And now, the end is near, and so I face the final curtain.' Now's also the time to grab top-rated products from Ninja and other splurge items, limited-time Prime Day vacuum deals, and deep cuts on headphones, and the best Prime Day deals for men's clothing. And while the next Prime Day 2025 likely won't hit until October, today's Prime Day sales are still packed with deals worth the cart space. So scroll fast, these are the sleeper hits, the ones Amazon didn't exactly put on a billboard, but we are. Shop to it! Apple This viral maxi dress is serving elegance and comfort. The strapless, body-hugging silhouette flatters every curve, while the soft, stretchy fabric moves with you, not against you. It's the kind of dress that works at brunch, the beach, or just barefoot on your patio. And over half off? You might want more than one. Amazon These cordless, compact blenders are your new smoothie sidekicks. With enough power to crush frozen fruit, blend protein shakes, or whip up margaritas on the go, this Peach and Stone duo is perfect for back-to-school mornings or beach day hydration. Toss one in your bag and hit blend anywhere. Amazon Let their imagination (and your floor) run wild. This mega set includes 12 Play-Doh cans, molds for cupcakes and cookies, utensils, plates, and even a pretend credit card. It's a fully loaded food truck for the toddler set—and one of the best Prime Day toy deals still standing. Amazon There's so much to love about the Samsung Galaxy Tab A9+. It allows for multiple apps to be open at once, so you can multitask like a boss. Armed with a crystal clear screen, it's light way, offers quick sharing and up to 128GB of storage and microSD support. Amazon Save 48% on Sony's cult-favorite over-ear headphones. These aren't just for music lovers—they're a game-changer for Zoom calls, flights, and daily commutes. With Dual Noise Sensor tech, Alexa voice control, and a 30-hour battery life, you'll wonder how you ever lived without them. Amazon Beach, bleachers, brunch, this waterproof tote can handle it all. With its open-top, stay-put design and dirt-resistant EVA material, the BOGG Bag is built for chaos. It's a mom-favorite, TikTok-loved, and rarely on sale. Scoop it while it's 20% off. Amazon The Apple AirPods Pro 2 Wireless Earbuds offer advanced features for an immersive audio experience. Powered by the H2 chip, they deliver enhanced Active Noise Cancellation and Adaptive Transparency. Personalized Spatial Audio and Adaptive EQ tailor sound to your preferences. The earbuds also include a clinical-grade Hearing Aid feature, providing hearing support. With up to 6 hours of listening time and a MagSafe Charging Case, they offer convenience and quality. Amazon This retro-style brewer isn't just cute, it's powerful. Now 33% off, it brews 40 oz. of coffee in 4–6 minutes with one switch. Quiet, fast, and auto shut-off when done? Consider your morning solved. Amazon Four presets, a touchscreen display, and a countertop footprint smaller than your streaming bill. This compact air fryer delivers crispy fries, roasted veggies, and juicy chicken with less oil and more ease. Now half off—and still hotter than ever. For over 200 years, the New York Post has been America's go-to source for bold news, engaging stories, in-depth reporting, and now, insightful shopping guidance. We're not just thorough reporters – we sift through mountains of information, test and compare products, and consult experts on any topics we aren't already schooled specialists in to deliver useful, realistic product recommendations based on our extensive and hands-on analysis. Here at The Post, we're known for being brutally honest – we clearly label partnership content, and whether we receive anything from affiliate links, so you always know where we stand. We routinely update content to reflect current research and expert advice, provide context (and wit) and ensure our links work. Please note that deals can expire, and all prices are subject to change.
New Straits Times
11-07-2025
- Entertainment
- New Straits Times
#SHOWBIZ: MPO pays tribute to Frank Sinatra and Judy Garland
THE Malaysian Philharmonic Orchestra (MPO) continues to stretch its versatility through its season theme for 2025, 'Where Every Beat Tells A Story.' Come 8pm on Saturday (July 12), it celebrates the music of two of the biggest names of mid-20th century American music, Frank Sinatra and Judy Garland at Dewan Filharmonik Petronas (DFP), KLCC, Jalan Ampang, Kuala Lumpur. TRAVEL The MPO will travel back in time with some of Hollywood's most memorable songs on the silver screen, and merge classic pop and symphonic twists, to give the audience musical richness while capturing the spirit of the Hollywood's Golden Age. A household name in the 1940s and 1950s, Sinatra (1915–1998) was an American cultural icon, known for both his baritone voice and stage charisma. On top of music, he also had a successful acting career with an Oscar for Best Supporting Actor for his role in From Here to Eternity (1953). Garland (1922-1969) was an American singer and actress renowned for her powerful contralto voice and emotional vocal depth. Fans of both can listen to Sinatra's evergreen classics such as 'Luck Be a Lady' from the movie 'Guys And Dolls' (1955), 'Three Coins in the Fountain' from the 1954 movie of the same name and 'How About You?' from the film 'Babes on Broadway' (1941). Also included in the programme are gems such as 'I Could Write a Book' (from 'Pal Joey', 1957), 'You're Sensational (from 'High Society', 1956) and 'You're A'wful' (from 'On The Town', 1949). RAINBOW Garland's iconic classic 'Somewhere Over The Rainbow' taken from the movie that catapulted her to fame, 'The Wizard of Oz' (1939)' will be the highlight of her tribute, and this song won the Oscar for Best Original Song. From the 1954 film 'A Star Is Born', the MPO will present 'The Man That Got Away', a song that showcases her vocal prowess. Her other memorable songs in this concert repertoire include the romantic ballad 'The Boy Next Door' from 'Meet Me in St. Louis' (1944), 'I Got Rhythm' (from 'Girl Crazy', 1943) and 'Be a Clown' (from 'The Pirate', 1948). OPERATIC The MPO will be helmed by Richard Balcombe who has firmly established himself as one of the most versatile conductors of his generation, with an impressive operatic and orchestral credits besides actively involved in West End presentations. The vocalists, Graham Bickley and Katie Birtill, return to the DFP stage after enthralling audiences with their collaboration with the MPO in 'The Music of The Bee Gees' concert last year. Graham has performed with orchestras throughout the UK and Europe with over 25 years of West End stage credits. Birtill has enjoyed a varied career in music and theatre and is renowned for her versatile vocals, heartfelt storytelling and dynamic performances. FANS In a recent interview, Balcombe said that the three of them first collaborated with the MPO in 'The Music of The Bee Gees', and they were big fans of Sinatra and Garland. He said: "Sinatra has the most amazing voice with a completely original quality and his legato singing is as good as any 'classical' singer. "I'm lucky that I conduct a variety of music ranging from classical to swing to pop and rock." ENERGY Balcombe added that the MPO's approach to playing was full of energy and the enthusiasm could almost be touched! "I love performing in DFP as it's a very intimate space even while holding a large audience. "You can feel the connection with every member of the audience." STANDARD "The repertoire in this concert is mostly from film so the orchestration is not complicated as the standard symphony orchestra would have been used," he said. Balcombe said that Garland covered all styles from swing right through to romantic melody. "She had such a versatile voice and making the accompaniments is exciting because I always think of what she would have sounded like." Bickley said that while he was a Sinatra fan, he was more of a fan of Nelson Riddle, his inspirational orchestrator. "The combination of Sinatra's voice coupled with Riddle's arrangements were a unbeatable team," he said, adding that his favourite music genres were jazz, swing and 1970s rock. As for Garland, Bickley described her as a troubled soul, who provided a body of work that remains untouchable even today. "She certainly put her heart and soul into every performance," he said.
Edmonton Journal
13-06-2025
- Sport
- Edmonton Journal
Maple Leafs broadcasting legend Joe Bowen announces retirement plan
Article content Sinatra said it best And now the end is near And so I face the final curtain My friend I'll say it clear I'll state my case of which I'm certain I've lived a life that's full I traveled each and every highway And more, much more than this I did it my way!! THX LEAF NATION! — Joe Bowen (@Bonsie1951) June 13, 2025 During his time calling Leafs games, Bowen's voice could be heard on a variety of stations that had the rights, his talent standing the test of time and surviving the widely changing sports broadcasting landscape in this country. On television where he was the voice of the Leafs as well, he worded alongside analyst Harry Neale for 12 years but Bowen's most constant partner has been Jim Ralph, who has been alongside him in the radio booth for 28 seasons. The pair were a constant source of information and entertainment to Leafs fans for nearly three decades. In recent years, Bowen has been frustrated by not being able to travel with the team, but has maintained his professionalism as he and Ralph adapt to the challenges of broadcasting changes. And with one more season, Bowen hopes he has a chance to call the action for a championship team for the first time. 'I sincerely hope that this will be the 'One Before I am Done' season for the Leafs as they chase that elusive Cup,' Bowen said.
Yahoo
11-06-2025
- Entertainment
- Yahoo
Nancy Sinatra Pays Tribute to Brian Wilson After The Beach Boys Co-Founder's Death: 'His Cherished Music Will Live Forever'
Nancy Sinatra has paid tribute to Brian Wilson following his death In an Instagram post on Wednesday, June 11, she said "one of the biggest thrills" of her life was singing "California Girls" with him Wilson's family announced he died at the age of 82 on Wednesday, June 11Nancy Sinatra is honoring Brian Wilson. After Wilson's family announced he died at the age of 82 on Wednesday, June 11, the "These Boots Are Made for Walkin'" singer shared a heartfelt Instagram tribute to the late co-founder of The Beach Boys. "His cherished music will live forever as he travels through the Universe and beyond," Sinatra, 85, wrote on the social media platform, alongside a photo of Wilson with his arm wrapped around her in what appeared to be a studio. "God bless you, sweet Brian."She added: "One of the biggest thrills of my life was singing 'California Girls' with Brian." View this post on Instagram A post shared by 𝙽𝚊𝚗𝚌𝚢 𝚂𝚒𝚗𝚊𝚝𝚛𝚊 (@nancysinatra) Sinatra and Wilson initially met at Wilson's 60th birthday party at the Mulholland Grill in Bel Air. In an interview with Wilson's website, the "Somethin' Stupid" artist revealed she was a "big fan" of Wilson because the music was "so refreshing." "It came along at a really good time," Sinatra said. She further noted that both she and Wilson were shy when they met. "But I mean there was nobody more generous than Brian," she said. "With Brian, if I need him, he's there. If it's in my house or on stage or wherever, he's just a very giving kind." The pair collaborated on the track "California Girls," which was featured on Sinatra's 2022 album California Girl. On Wednesday, June 11, Wilson's family confirmed he had died at the age of 82 in an Instagram post featuring a recent photo of the star smiling on a bench. "We are heartbroken to announce that our beloved father Brian Wilson has passed away," read the statement. "We are at a loss for words right now." It continued: "Please respect our privacy at this time as our family is grieving. We realize that we are sharing our grief with the world. Love & Mercy." No cause of death was revealed at the time. is now available in the Apple App Store! Download it now for the most binge-worthy celeb content, exclusive video clips, astrology updates and more! Wilson, who was described by PEOPLE in 1975 as the "formative genius" of The Beach Boys, served as the band's songwriter and co-lead vocalist and also played bass guitar and keyboard alongside brothers, Dennis and Carl Wilson, cousin Mike Love and friend Al Jardine, who all comprised the original lineup. A month after Wilson's wife Melinda Kae Ledbetter, whom he married in 1995, died January 2024 his family filed for a conservatorship in a Los Angeles court stating that he had a "major neurocognitive disorder (such as dementia)." They added that Wilson was 'unable to properly provide for his... personal needs for physical health, food, clothing, or shelter.' Read the original article on People
Forbes
10-06-2025
- Entertainment
- Forbes
Seth MacFarlane Talks Bringing Long-Lost Frank Sinatra Tunes To Life
Seth MacFarlane revives lost Sinatra songs on his new album Lush Life, bringing ... More never-before-recorded arrangements to life in his signature pop-jazz vocal style. HOLLYWOOD, CALIFORNIA - APRIL 19: Seth MacFarlane attends the PaleyFest LA 2024 "Family Guy" 25th anniversary celebration at Dolby Theatre on April 19, 2024 in Hollywood, California. (Photo by) Seth MacFarlane has built an empire with his voice. Most people know him as the creator and star of long-running animated comedies like Family Guy, American Dad, and The Cleveland Show, as well as the writer-director behind Ted, A Million Ways to Die in the West, and The Orville. He has won multiple Emmys for voicing a multitude of characters on the programs he's developed, and he's known as a gifted actor. What's less widely known — even among his most dedicated fans — is that MacFarlane is also one of today's most talented traditional pop vocalists. His musical career, which leans heavily on the Great American Songbook, has earned him five Grammy nominations, including several in the Best Traditional Pop Vocal Album category. His latest release, Lush Life: The Lost Sinatra Arrangements, may be the most exciting of his nine full-lengths due to the story behind its creation. While MacFarlane has spent over a decade reviving the stylings of Frank Sinatra, Nat King Cole, and their contemporaries, Lush Life stands apart and sounds quite different. It's not just another tribute to Sinatra, though even that would have been welcome, given MacFarlane's skill. MacFarlane was granted access to original arrangements written for Sinatra himself, but which, for one reason or another, were never recorded or released. In many cases, these orchestrations have been sitting in boxes for decades, waiting to be discovered and appreciated. 'When I got the offer from Tina Sinatra to acquire the library of charts,' MacFarlane explained during a recent interview, 'we found a lot of orchestrations and in some cases, whole songs that [Sinatra] That's exactly what MacFarlane has done. Working with top-tier musicians and staying faithful to the original arrangements, Lush Life brings these forgotten songs to life for the first time. These new recordings are performed in MacFarlane's signature smooth, deep voice, which lends itself perfectly to this space – but even in Sinatra's shadow, the TV star manages to make these decades-old tunes his own. 'You really do have to put your own stamp on it, because there is no recording that exists,' he says. 'But at the same time, you have the fun and the privilege of playing in that Nelson Riddle/Billy May playground.' The result is a fantastic collection of recordings, not just for Sinatra geek MacFarlane, but for anyone who cares deeply about this kind of music. Fans of the Great American Songbook will be delighted as delighted as ever to hear new takes on the classics, and Sinatra devotees in particular should be intrigued by the idea that there's still more of Ol' Blue Eyes' catalog left to explore. Hugh McIntyre: I've loved turning people on to your singing throughout the years. I always love dropping in, "He's got a great voice," and I've actually played things for people in the past, so I was very happy to hear this album, which is phenomenal. Seth MacFarlane: Oh, thank you. Thank you so much. McIntyre: This is more specific than some of your past records, so tell me about the genesis of this Frank Sinatra tribute. MacFarlane: I didn't set out to do a Sinatra album. If anything, I try to stay away from his material, because you're just not going to outdo anything that he's done. I try to take lessons from the way he approached a song and the way he approached an arrangement when I'm recording something new. But in this instance, when I got the offer from Tina Sinatra to acquire the library of charts, we found a lot of orchestrations and in some cases, whole songs that he never recorded for one reason or another, so that was a very different story. You take something like "Flying Down to Rio," which was written for the Come Fly With Me album and cut, and then just left in a box somewhere for seven decades. That's kind of something that somebody ought to record at some point, because it was written by Billy May, one of the greatest arrangers of popular song ever. And obviously, there are a number of charts by Nelson Riddle, who is probably the best of the best, and it would've been a crime not to put these things down on tape. McIntyre: Well, I'm glad someone did, and that it was you. I'm shocked that after all this time, there are still Sinatra compositions that were never recorded, or arrangements that were abandoned. Why do you think these have been left alone for so long? MacFarlane: I think it's probably a different reason for each individual chart. I mean, for "Flying Down to Rio," it may have just been cut for time or something. "How Did She Look?" was supposed to be included on the Only the Lonely album, and I don't know, because it's a fantastic chart. In some cases, I think it's superior to maybe one or two of the charts that were actually on that record — even though that record is just about flawless as far as I'm concerned. I think it's just the quantity of great music that you had back then made it almost... I don't want to use the word "disposable," but you could be a little fast and loose with what you cut because you always knew there was something else great coming down the line. It's in many ways similar to why we lost all those classic MGM charts. All the orchestral scores for The Wizard of Oz or Singin' in the Rain or any of those great musicals from the '40s are gone. They were bulldozed to make a parking lot somewhere. And the thinking was, "Well, we'll always have this." That kind of high musicality will always exist. And of course, it doesn't. It's just gone. So putting aside some of these songs because there was so much to choose from... that just doesn't exist anymore. McIntyre: When you acquired all of this content, you must have dug through... I mean, there must be so much more than the 12 songs you included on this. MacFarlane: Yeah. We were under some pressure, for reasons I can't remember now, to reduce the number to 12. I think that's one of those weird modern music industry things that I don't really understand. We had more that were prepped for this album. But even beyond that, there are others that we didn't even touch yet in the archives that are also ripe to be recorded. Charlie Pignone, who's our guru at Sinatra Enterprises and knows these archives better than anybody, says there are probably another two albums' worth of unrecorded material in there. So our process of digging is certainly not complete. We plan to do more of it. McIntyre: Were there any arrangements, as you picked these up and chose your 12, that were particularly tough to make come to life after so much time? MacFarlane: A lot of it was figuring out what the tempo was. That's something that really can't be quantified. I mean, I guess you can put a metronome number at the top of your chart, but in most cases, that wasn't done. It was something left to dynamic indication — 'moderate swing,' 'uptempo' — and that could mean any number of things. So we had to guess, based on what we knew of each arranger's style and other work they had done. And by this point, both Joel and I, and John Wilson our conductor, we're very familiar with all of these arrangers. So we were pretty confident that our guesses weren't too far off, and hopefully they were fairly accurate. Beyond that, the only other work done was lyrical. For "Arrivederci, Roma," there was an Italian verse — the English refrain was already written, had been sung by many artists — but the verse was all in Italian. I don't know that Sinatra would've sung it that way. I remember Dean Martin singing a lot in Italian, but not Sinatra. And I certainly didn't want to subject anyone to my attempt. So we had it translated, and I wrote a new lyric for that verse based on the translated content. Hopefully, it blends well with the lyrics that already exist. That was one of the few bits of writing I had to do. There are a couple of lyrics in "Hurry Home" and a couple in "Give Me the Simple Life" that I rewrote because I was damn sure they were the reason Sinatra didn't want to sing those songs. They were just absurd — so quaint that even in 1910 you might not get away with them. But that was all part of the process – understanding what they would have done. Changes are always made on the day when you're in the studio. You mess around until everything's just right. In those cases, I imagine Sinatra would've brought in someone like Sammy Cahn or Johnny Mercer to help him tweak things. But again, it's all guesswork. McIntyre: But what a great thought exercise — and what a great time for someone like you, who's such a fan of this space, to nerd out. "What would Sinatra do? What would Mercer do?" MacFarlane: Yeah, it's fun, and it's work, and it's pressure like anything else. Even writing a lyric for something like Family Guy, we hold ourselves to a rigid standard. We don't get to cheat. We don't get to use half rhymes, which I've always hated. Either it rhymes or it doesn't. But with something like this, where you're blending with lyrics written when the art form was in the hands of people like Oscar Hammerstein and Cole Porter and Alan Jay Lerner... there's a lot of pressure to really bring it. They were the best of the best. McIntyre: Throughout your musical career, it's been all traditional American songbook. You've really championed that music, those names you just mentioned. But when you come to a project like this — Sinatra, these great writers — how do you honor that and still put your stamp on it? MacFarlane: It's a little of both. We've done eight studio albums at this point, and I always look for songs that haven't been sung often by a lot of people, just because it's more interesting. That's what interested me about what Sinatra did. He took songs from the '20s and '30s that had been, if not forgotten, then certainly sidelined, and revitalized them. So that's always been my approach. I don't want to sing 'My Way' or 'Fly Me to the Moon.' I want to sing 'Green Dolphin Street,' or 'Ain't Got a Dime to My Name' from Road to Morocco. I want to find songs that maybe someone like Frank would have interpreted if he'd gotten around to them. So with this, the good thing is, you're not recreating something iconic. These songs were never recorded. You have to put your own stamp on them. But at the same time, you get to play in the Nelson Riddle/Billy May sandbox, and hear their signature voices as arrangers. It's like, if you're a Beatles fan and you find a lost Lennon/McCartney song — something unfinished but clearly theirs — and now you get to be the first to interpret it. That's the feeling. McIntyre: What is it about this era, the Great American Songbook, that fascinates you? MacFarlane: There's so much of it, and it's so enduring. It's the purest form of songwriting. Most decades have their musical signatures: 'Oh, that's disco,' 'That's rock,' 'That's hip-hop.' But with these songs, you can't do that. Take 'Blue Moon' or 'The Sound of Music' — what are they? Jazz? Classical? Pop? No. They're just melody. Pure, simple, beautiful melody that can be recorded in any style. They were written to be taken home and played by anyone with a piano. Structurally and melodically, it's songwriting in its purest form. And it's hard. You don't see people doing that now. Try to find someone who's written 'You'll Never Walk Alone' in the past 30 years. We've tried. It was an era of such high musicality, and we didn't realize how rare it was. None of it is kitsch. You look back at old TV shows you thought were great and now see they were... not. But you watch The Sopranos today? Still high art. There was just something deeper behind this music. Irving Berlin writing a song felt like more than just product. That's my theory — and it might be naive — but that's how I see it. McIntyre: But we also have hindsight. We can look back 70 years and say, 'Oh, those songs stood the test of time.' Give it 20 or 30 more and let's see how some of the garbage from the '80s holds up. MacFarlane: But I think we're already there. The '80s was 40 years ago. McIntyre: Right — 40 years! MacFarlane: Even by then, we knew older songs were classics. I love '80s music, but I don't think it stands the test of time the same way. There's fun stuff, but a lot of kitsch. I think another way to look at it is, we love '80s music because we were there. It's tied to our lives. That's why I'll listen to 'Get Outta My Dreams, Get Into My Car.' It gets a pass because of the memory. But that's the difference – these older songs don't need that. You hear 'Heather on the Hill' or 'Laura' and they move you regardless of when you were born. It doesn't take production or nostalgia, they just hold up. McIntyre: I was struck as I listened by the lushness of these orchestrations. It's so beautiful. Can you tell me about you needing that many musicians? MacFarlane: Well, again, that was something that was common back then. You recorded a pop album with that size ensemble if you wanted to, and many people did. Most of Sinatra's albums were somewhere in that range in terms of the orchestra size. So to us, it's unusual because today, things are more economical. You've got your guitarist, your keyboardist, your bassist, your percussionist — maybe a couple more — and that's your band. Then it's all post-work. You just don't see these large ensembles anymore. I love it. It's special. And there's nothing like that sound, especially when it's in the hands of arrangers who really know how to write for those ensembles like these guys did. Nelson Riddle was a master. Don Costa was a master. These guys just really knew how to bring the most out of an ensemble. And comparatively, these aren't symphony-sized ensembles. We're not talking about 100 players. Sometimes it's 50 or 55, and even back then it might've been 35. But that still meant you had a full string section, a brass section, a woodwind section. You could paint with all those different colors and bring a lot of variety to even a single song. There's just nothing like being in the room with an orchestra. It really is the best thing in the world. McIntyre: You are famously very busy, you've got a lot going on. But do you ever wish you could take these songs out on the road? And would that even be feasible with that large of an orchestra? MacFarlane: What you do is you work with local ensembles. I've performed with the San Francisco Symphony, the Houston Symphony, the Philadelphia Symphony, the Baltimore Symphony, the Boston Pops, the Cincinnati Symphony. Every one of those is a phenomenal ensemble, ready to play this stuff. You bring your rhythm section with you — maybe seven people. Your pianist, drummer, bassist, guitarist, maybe a lead trombone, lead woodwind, lead trumpet. That's really it. Everything else is filled in by the orchestra you work with locally. It would definitely be fun to do that at some point, but truthfully, it wasn't something that was very common back then. When someone like Nat King Cole or Sinatra or Dean Martin released an album, they weren't out on tour supporting it the way a pop star is now. It was about the recording. They might do some live shows — there are great recordings of the Rat Pack at the Sands, for instance — but it wasn't like they were touring heavily. That was more of an afterthought, like, "Hey, we're filming a movie in Vegas, might as well do a show." They were already onto the next album. In some ways, I kind of like that model. You're investing in what you're making in the studio, and then once it's out there, it's for people to discover, and you move on. McIntyre: People know you from a lot of different things, obviously — TV, film, comedy – but you put so much time and care into these albums, and it's clear how much you love and understand this music. Do you feel like you're still introducing this side of yourself to the public? And is that kind of strange, given how established you are in other areas? MacFarlane: Look, it's just a fact of entertainment – if you establish yourself as a musician first, like Will Smith or someone like that, and then move into acting or directing, you're usually granted a kind of freedom. People accept that transition. But it doesn't work the other way around. For some reason, if you're a writer or an actor who then decides, "Hey, I'd like to try making music," there's a lot more skepticism. I don't know why that is, but it's real. That said, I'm incredibly gratified by the reception we've gotten. I think we've had four or five Grammy nominations for these records, which tells me that, yeah, we're still introducing people to this side of what I do — but we've managed to make more headway than a lot of folks do when crossing over. Overall, it's definitely a lot harder to go from something like acting or animation into music than the reverse, and I see that all the time across the history of entertainment. McIntyre: You're a five-time Grammy nominee at this point, so you feel like you've gotten farther, but you're right. In my lifetime, Lady Gaga is an Oscar-nominated actress, Ariana Grande is an Oscar-nominated actress... but how many people were listening to an actor's albums? MacFarlane: Those are both great examples. There's an allowance for it from one side but not the other, with exceptions. I think people like Jared Leto have earned some genuine respect from parts of the music business. There are exceptions, but there's just no comparison. Quantitatively, if you're a musician getting into the world of acting, there's a lot more allowance — from both the press and the public — than there is the other way around. If you're Tom Hanks and you want to get into music, it's going to be a much more uphill climb than if you're Lady Gaga trying to become a great actor. McIntyre: Yeah, but you've gotta love Tom's son's rap career. MacFarlane: Oh, really? McIntyre: Oh, yeah. You're missing out on that one. Have you heard Jeff Goldblum's music? MacFarlane: I haven't. But first of all, he's a genuinely talented musician. And I think what he's doing is... in some ways it's like, you look at someone like Steve Martin, who is genuinely talented with the banjo. These guys aren't trying to become pop stars. They're just trying to make music. And if you respond to it, great. If you don't, fine. I think people can recognize in both of those individuals that there's an artist there. Someone who's just doing it because they love it, not because they're trying to become something else. McIntyre: Do you have a favorite Sinatra album? MacFarlane: Say it one more time? Yeah, it's breaking up a little—sorry. You want to try FaceTime? It's going to work a lot better. MacFarlane: Favorite Sinatra album? Only the Lonely. His ballad albums are my favorites because I feel like that's where he was really doing 150%. I mean, he was always giving 150%, but you can tell that's where his heart really was. His arrangers, too. As great as something like Songs for Swingin' Lovers is, there's no question when you listen to In the Wee Small Hours or Only the Lonely or any of those ballad albums, Nelson Riddle is giving you all of his art in a different way.
