Personal life of Frank Sinatra
Frank Sinatra had many close relationships throughout his life. He had at least six other notable relationships in between, he had three verified children, as well as more than one of questionable relationship. Frank Sinatra met Nancy Rose Barbato when he was nineteen, they were married on February 4, 1939, in Jersey City, New Jersey, Barbato's home town, their wedding was held at Our Lady of Sorrows Church at 93 Clerk Street, after which the newlyweds resided in an apartment house at 137 Bergen Avenue. Their first child, their elder daughter Nancy Sinatra, was born on June 8, 1940, their son, Francis Wayne Sinatra, known as Frank Sinatra Jr. was born on January 10, 1944. Both children were born at the Margaret Hague Hospital in Jersey City. Following their move to Hollywood, Los Angeles, Sinatra errantly strayed from his marriage into extra-marital affairs, the first known with Marilyn Maxwell; these affairs became public knowledge and caused great embarrassment to Nancy Barbato Sinatra, who considered calling off their marriage and had an abortion when she became pregnant in 1946.
A third child, Christina Sinatra, known as "Tina", was born on June 20, 1948. Nancy Barbato Sinatra and Frank Sinatra announced their separation on Valentine's Day, February 14, 1950, with Frank's additional extra-marital affair with Ava Gardner compounding his transgressions and becoming public knowledge once again. After just seeking a legal separation and Nancy Sinatra decided some months to file for divorce, this divorce became final on October 29, 1951. Frank Sinatra's affair and relationship with Gardner had become more and more serious, she became his second wife. What was less known was the fact of Sinatra’s continuing visits. “Throughout the many years after they split, my grandfather came to visit whenever his crazy life would allow it,” Mrs. Sinatra’s granddaughter A. J. Lambert wrote in a 2015 remembrance in Vanity Fair. “I can remember times when she would be on the phone with her ex-husband, the next thing I knew some eggplant was coming out of the freezer to thaw so that she could make him some sandwiches when he showed up.”
She remained profoundly private, uttering a word in public about her life with Sinatra, though their mutual feelings were clear, her granddaughter recalled, to those who knew them best.“I know he never stopped loving her,” Ms. Lambert wrote. “And I know she never stopped loving him.”Nancy Barbato Sinatra died in 2018 at the age of 101, she was never remarried and having outlived not only her ex-husband, but her son Frank Jr. as well, who died in 2016. Kitty Kelley claims that Sinatra had first seen photographs of Ava Gardner in a magazine and had sworn that he would marry her. Ruth Rosenthal, a friend of Gardner's, stated that Gardner detested him upon meeting him at MGM, finding him to be "conceited and overpowering", their similarities, from vices like smoking, drinking hard liquor and cursing, to their volatile tempers and love of violent sports, soon became apparent. Sinatra separated from Nancy on Valentine's Day 1950, after he confessed to his passionate affair with Gardner, she subsequently locked him out of the house and hired a lawyer.
Although Nancy refused to divorce him, Sinatra was granted a divorce in Nevada in October 1951, subsequently obtained a marriage license in Pennsylvania, marrying Gardner in a small ceremony on November 7, 1951. A turbulent marriage, with many well-publicized fights and altercations, an abortion in November 1952, the couple formally announced their separation on October 29, 1953 through MGM. Gardner filed for divorce in June 1954, at a time when she was dating matador Luis Miguel Dominguín, but the divorce wasn't settled until July 1957. Sinatra blamed Peter Lawford for the split, who had dated Gardner before, it took six years for Sinatra to forgive him, he was inconsolable in the fall of 1953 after the split, according to Kelley, on November 18, Van Heusen found him in the elevator of his 57th Street apartment with his wrists slashed. Sinatra took responsibility for Gardner's business affairs long after the split, was still dealing with her finances in 1976; when she fell into financial difficulty in years, Sinatra paid $50,000 towards her medical bills.
Gardner's power in Hollywood helped Sinatra get cast in From Here to Eternity and his subsequent Academy Award for Best Supporting Actor helped revitalize Sinatra's film career. Sinatra married actress Mia Farrow on July 19, 1966, when she was 21 and he was 50. At the time, Sinatra was enjoying a wave of renewed popularity as the song "Strangers in the Night" returned him to the top of the Billboard charts only seventeen days later, they met on the set of Von Ryan's Express. She agreed to appear in his 1968 film, The Detective, but when she reneged as her filming schedule for Rosemary's Baby overran, Sinatra served her divorce papers in front of the cast and crew, they were divorced in Mexico in August 1968. In an interview for the November 2013 issue of Vanity Fair, Farrow said that she and Sinatra "never split up" and answered "possibly" when asked if her son Ronan might be Sinatra's. On July 11, 1976, Sinatra married Barbara Blakeley Marx, she remained his wife until his death, although her relations with Sinatra's children were portrayed as stormy, something Nancy Sinatra confirmed when she publicly claimed that Barbara had not bothere
Frank Sinatra's recorded legacy
Frank Sinatra's musical career began in the swing era in 1935, ended in 1995. Sinatra's vocal style represented a strong departure from the "crooning" style of his idol, Bing Crosby. Sinatra's generation represented the first generation of children that had grown up in the era of the microphone, the amplification of sound enabled singers to sing in a much softer and nuanced style; however Sinatra, as he himself once noted, sang more, by which he meant that he introduced a bel canto sound to the tradition begun by Crosby. And, more he might be said to have brought the Crosby tradition to artistic completion, taking it to levels of intensity and depth of feeling that, because of the displacement of the Crosby – Sinatra tradition by rock and roll and subsequent genres, are unlikely to be achieved again. Two other great performers of the 1930s and 1940s were significant influences on Sinatra: Billie Holiday and Mabel Mercer. Sinatra heard "Lady Day" in New York clubs in the 1940s and learned from her the importance of authenticity of emotion.
From Mercer he learned the importance of the element of "story" in a song. For Sinatra a song is a three- to four-minute narrative — sometimes the story of himself, his own life, his own heartaches, his own feelings of buoyancy — and this is why Ella Fitzgerald could say of him, "With Frank, it's always this little guy, telling this... story." The archetypal examples of the Sinatra song as story could be found in two selections from his 1958 Capitol album, Frank Sinatra Sings For Only The Lonely: "Angel Eyes" and "One For My Baby". Sinatra made a point of studying Tommy Dorsey's trombone playing as a means of cultivating a more free-flowing vocal style — he noticed that Dorsey used a tiny airhole at the side of his mouth to sneak breaths when playing. Sinatra would employ a similar technique, so be able to hold notes for long durations. In addition to this, Sinatra started to jog and swim underwater to develop his lung capacity — which enabled him to continue a musical phrase through a stanza without pausing, or breaking the note, for breath.
Sinatra's legato-style of singing/phrasing took pop singing in new directions when most singers of the 1940s were keen to emulate Bing Crosby. As happens with many singers, Sinatra suffered at least one period of major vocal difficulty, which he remedied with the help of Metropolitan Opera baritone Robert Merrill; as a song-stylist, Sinatra's jazz-infused approach to singing seemed to occur with the end of the "Big Band" era and ushering in of an era that favored the vocalist and made him/her the focus, not the bandleader and his band. Sinatra possessed an outstanding vocal range. According to music critic Henry Pleasants "The voice itself was a typical Italian light baritone with a two octave range from G to G, declining, as it darkened in years, to F to F and with greater potential at the top than he was disposed to exploit, he could and sometimes did depress the larynx and'cover' as classical singers do, to sustain a full rounded tone in moving up the scale. On his recording'Day by Day,' for example he gives out with full-voiced, admirably focused D's and E's and lands a held but confident high G just before the end."
His early recordings found him singing in near-tenor range, hitting a high F on "All or Nothing At All" or "Where's My Bess", whilst being adept in the lower register, the low E on his 1962 recording of "Ol' Man River" being a prime example of such. His phrasing was impeccable, getting to the heart of a song by emphasizing words and lines in ways that made a song more personal, whilst his ability to hold notes, sing above or behind the beat and rest on a note were hallmarks of a singer in command of his instrument. Between 1946 and 1983 Sinatra conducted seven albums and conducted live orchestras on stage, his first recordings on which he wielded the baton were instigated by producer Mitch Miller, who approached Columbia boss Maine Sachs to request that Sinatra conduct some of the work of Alec Wilder released as Frank Sinatra Conducts The Music Of Alec Wilder. In 1956 Sinatra recorded the first album in the Capitol Records tower, not as a vocalist, but as a conductor on the album Frank Sinatra Conducts Tone Poems of Color.
In 1957 and 1959 he conducted albums for Peggy Lee — The Man I Love — and Dean Martin — Sleep Warm — the latter, charting inside Billboard's Top 40. A lesser-known project for his own label, entitled Frank Sinatra Conducts Music from Pictures and Plays remains obscure, it was 20 years before Sinatra conducted in a studio again, for Sylvia Syms on the album Syms by Sinatra, which featured the final arrangements of Don Costa; the following year Sinatra conducted for trumpeter Charles Turner on the album What's New?. Sinatra would have been considered a'pop' singer before the "rock and roll" era, the epithets traditional pop or more classic pop have been coined to describe Sinatra's style. In addition, Sinatra would and did tackle several styles and genres of music throughout his career, with differing degrees of success. There still exists a debate as to, he performed with many of the finest jazz musicians and, in fact, headlined the Newport Jazz Festival and toured with the Red Norvo Quintet.
There are few occasions when Sinatra was recorded scat singing, but minor nuances and slight deviations from the vocal line are a hallmark of the material he recorded, he was known for his impeccable jazz timing and phrasing. Indeed, it is impossible to imagine the Sinatra after 1953 without the influence of jazz, it is no accident that he would be Lester Young's ideal singer in the band Youn
Sinatra & Company
Sinatra & Company is an album by American singer Frank Sinatra released in 1971. The first side of this album is in the bossa nova style, the second side is influenced by soft rock, featuring a couple of standards from John Denver; the bossa nova recordings were cut for a follow-up to the acclaimed Francis Albert Sinatra & Antonio Carlos Jobim. Arranged by Eumir Deodato, the recordings had been completed, the artwork finalized, an 8-track tape release of the planned album, titled Sinatra–Jobim made available when the decision was made to retrench; some of Sinatra's less mainstream albums hadn't performed well, anxieties drove the creation of this hybrid. Three songs recorded at the Sinatra-Jobim session – "Bonita", "Sabiá", "Off Key" – were omitted from Sinatra & Company. "Sabiá" was released in the USA as the flip side of the 45 rpm single "Lady Day" in 1970, was issued along with "Bonita" on the 1977 compilation Portrait of Sinatra and the 1979 compilation, Sinatra–Jobim Sessions. "Off Key" was unreleased until its inclusion on the box set The Complete Reprise Studio Recordings in 1995.
In 2010 the Concord Records label issued Sinatra–Jobim: The Complete Reprise Recordings, a comprehensive collection of all the tracks recorded by Sinatra and Jobim. A few 8 track versions of Sinatra–Jobim did survive, are now eagerly sought after by collectors. "Drinking Water" – 2:35 "Someone to Light Up My Life" – 2:37 "Triste" – 2:40 "Don't Ever Go Away – 2:28 "This Happy Madness – 2:57 "Wave" – 3:25 "One Note Samba" – 2:20 "I Will Drink the Wine" – 3:30 " Close to You" – 2:34 "Sunrise in the Morning" – 2:50 "Bein' Green" – 3:00 "My Sweet Lady" – 3:01 "Leaving on a Jet Plane" – 2:25 "Lady Day" – 3:41 Frank Sinatra – vocals Antônio Carlos Jobim – guitar, scat singing Don Costa – arranger, conductor Eumir Deodato – arranger Morris Stoloff – conductor
The Voice of Frank Sinatra
The Voice of Frank Sinatra is the first studio album by American singer Frank Sinatra, released on Columbia Records, catalogue C-112, March 4, 1946. It was first issued as a set of four 78 rpm records totaling eight songs, the individual discs having been released as singles, consisting of catalog #s 36762, 36919, 36921, 37089; the album went to #1 on the fledgling Billboard chart. It stayed at the top for seven weeks in 1946; the album chart consisted of just a Top Five until August 1948. The cover depicted to the right is that of the original 78 rpm release cover used on the compact disc reissue; the tracks were arranged and conducted by Axel Stordahl and his orchestra, on both dates consisting of a string quartet and four-piece rhythm section, augmented by flutist John Mayhew in July, given the part he played with Sinatra at Columbia in the early 1950s, oboist Mitch Miller in December. Sinatra recorded most of these songs again at stages in his career. Certain critics have claimed The Voice to be the first concept album.
Beginning in 1939, singer Lee Wiley started releasing albums of 78s dedicated to the songs of a single writer, Cole Porter for example, a precursor to the Songbooks sets formulated by Norman Granz and Ella Fitzgerald in 1956. These may loosely be termed concept albums, although Sinatra with The Voice inaugurated his practice of having a common mood, theme, or instrumentation tying the songs together on a specific release, it holds the distinction of being the first pop album catalogue item at 33⅓ rpm, when Columbia premiered long-playing vinyl records in 1948, ten-inch and twelve-inch format for classical music, ten-inch only for pop. The Voice was reissued as a 10-inch LP, catalogue number CL 6001 in 1948, it was later issued as two 45 rpm EPs in 1952 with catalogue number B-112, a 12-inch LP with a changed running order including only five of the original tracks in 1955 with catalogue number CL-743, a compact disc with extra tracks in 2003. Frank Sinatra — vocal Axel Stordahl — arranger Leonard Posner.
Raoul Polikian — violins Sidney Brecher — viola Anthony Sophos — cello Mitch Miller — oboe Matty Golizio — guitar Bill Clifton — piano Frank Siravo — bass Nat Polen — drums Mischa Russell, David Frisina — violins Sam Freed — viola Fred Goerner — cello Jack Mayhew — flute George Van Eps — guitar Mark McIntyre — piano John Ryan — bass Ray Hagan — drums Bill Richards — producer Charles L. Granata, Didier C. Deutsch — compact disc reissue producers
Universal Music Group
Universal Music Group is an American global music corporation, a subsidiary of the French media conglomerate Vivendi. UMG's global corporate headquarters are located in California, it is considered one of the "Big Three" record labels, along with Warner Music Group. Since 2004, the corporation is no longer related to the film studio Universal Studios. Universal Music was once the record company attached to film studio Universal Pictures; the company's origins go back to the formation of the American branch of Decca Records in September 1934. The Decca Record Co. Ltd. of England spun American Decca off in 1939. MCA Inc. merged with American Decca in 1962. In November 1990, Japanese multinational conglomerate Matsushita Electric agreed to acquire MCA for $6.59 billion. In 1995, Seagram acquired 80 percent of MCA from Matsushita. On December 9, 1996, the company was renamed Universal Studios, Inc. and its music division was renamed Universal Music Group. In May 1998, Seagram purchased PolyGram and merged it with Universal Music Group in early 1999.
With the 2004 acquisition of Universal Studios by General Electric and merging with GE's NBC, Universal Music Group was cast under separate management from the eponymous film studio. This is the second time a music company has done so, the first being the separation of Time Warner and Warner Music Group. In February 2006, the label became 100 percent owned by French media conglomerate Vivendi when Vivendi purchased the last 20 percent from Matsushita. On June 25, 2007, Vivendi completed its €1.63 billion purchase of BMG Music Publishing, after receiving European Union regulatory approval, having announced the acquisition on September 6, 2006. Doug Morris stepped down from his position as CEO on January 1, 2011. Former chairman/CEO of Universal Music International Lucian Grainge was promoted to CEO of the company. Grainge replaced him as chairman on March 9, 2011. Morris became the next chairman of Sony Music Entertainment on July 1, 2011. With Grainge's appointment as CEO at UMG, Max Hole was promoted to COO of UMGI, effective July 1, 2010.
Starting in 2011 UMG's Interscope Geffen A&M Records will be signing contestants from American Idol/Idol series. On January 2011, UMG announced it was donating 200,000 master recordings from the 1920s to 1940s to the Library of Congress for preservation. In March 2011, Barry Weiss became chairman and CEO of The Island Def Jam Music Group and Universal Republic Records. Both companies were restructured under Weiss. In December 2011, David Foster was named Chairman of Verve Music Group. In 2011, EMI sold its recorded music operations to Universal Music Group for £1.2 billion and its music publishing operations to a Sony-led consortium for $2.2 billion. Among the other companies that had competed for the recorded music business was Warner Music Group, reported to have made a $2 billion bid. IMPALA opposed the merger. In March 2012, the European Union opened an investigation into the acquisition The EU asked rivals and consumer groups whether the deal would result in higher prices and shut out competitors.
On September 21, 2012, the sale of EMI to UMG was approved in Europe and the United States by the European Commission and Federal Trade Commission respectively. However, the European Commission approved the deal only under the condition the merged company divest one third of its total operations to other companies with a proven track record in the music industry. UMG divested Mute Records, Roxy Recordings, MPS Records, Cooperative Music, Now That's What I Call Music!, Universal Greece, Sanctuary Records, Chrysalis Records, EMI Classics, Virgin Classics, EMI's European regional labels to comply with this condition. UMG retained The Beatles and Robbie Williams; the Beatles catalogue was transferred to UMG's newly formed Calderstone Productions, while Williams' catalogue was transferred to Island Records. Universal Music Group completed their acquisition of EMI on September 28, 2012. In November 2012, Steve Barnett was appointed CEO of Capitol Music Group, he served as COO of Columbia Records. In compliance the conditions of the European Commission after purchase of EMI, Universal Music Group sold the Mute catalogue to the German-based BMG Rights Management on December 22, 2012.
Two months BMG acquired Sanctuary Records for €50 million. On November 8, 2012, Universal Music and Hewlett-Packard launched a marketing operation that allows customers with an HP computer with HP Connected Music software to access music from Universal artists, as well as exclusive content. On February 8, 2013, Warner Music Group acquired the Parlophone Label Group for $765 million. In February, Sony Music Entertainment acquired Universal's European share in Now That's What I Call Music for $60 million. Play It Again Sam acquired Co-Operative Music for £500,000 in March 2013. With EMI's absorption into Universal Music complete, its British operations will consist of five label units: Island, Decca, Virgin EMI and Capitol. In April 2013, Universal Music Greece was sold to Victoras Antippas, who renamed the company Cobalt Music. Edel AG acquired the MPS catalogue from Universal in January 2014. On March 20, 2013, UMG announced the worldwide extension of their exclusive distribution deal with the Disney Music Group, excluding Japan and Russia.
As a result of t
Frank Sinatra: The Reprise Years
Frank Sinatra: The Reprise Years is a 36 disc boxed set by American singer Frank Sinatra. This set contains 35 CDs featuring every studio album that Sinatra released between 1960 and 1984; each CD contains an individual Sinatra Reprise LP. Missing from the set are 1966's Greatest Hits! and 1972's Greatest Hits, Vol.2, which contain songs not available on any other album. Not included are any single-only releases from the 1970s and 1980s which are not available on any studio album; the Complete Reprise Studio Recordings contains all of the missing songs from this collection. Disc one - Ring-a-Ding-Ding! Disc two - Swing Along with Me Disc three - I Remember Tommy Disc four - Sinatra and Strings Disc five - Sinatra and Swingin' Brass Disc six - Sinatra Sings Great Songs from Great Britain Disc seven - All Alone Disc eight - Sinatra-Basie: An Historic Musical First Disc nine - The Concert Sinatra Disc ten - Sinatra's Sinatra Disc eleven - Sinatra Sings Days of Wine and Roses, Moon River, Other Academy Award Winners Disc twelve - America, I Hear You Singing Disc thirteen - It Might as Well Be Swing Disc fourteen - Softly, as I Leave You Disc fifteen - Sinatra'65: The Singer Today Disc sixteen - September of My Years Disc seventeen - My Kind of Broadway Disc eighteen - A Man and His Music Disc nineteen - Strangers in the Night Disc twenty - Moonlight Sinatra Disc twenty-one - That's Life Disc twenty-two - Francis Albert Sinatra & Antonio Carlos Jobim Disc twenty-three - The World We Knew Disc twenty-four - Francis A. & Edward K. Disc twenty-five - The Sinatra Family Wish You a Merry Christmas Disc twenty-six - Cycles Disc twenty-seven - My Way Disc twenty-eight - A Man Alone Disc twenty-nine - Watertown Disc thirty - Sinatra & Company Disc thirty-one - Ol' Blue Eyes Is Back Disc thirty-two - Some Nice Things I've Missed Disc thirty-three - Trilogy: Past Present Future Disc thirty-four - She Shot Me Down Disc thirty-five - L.
A. Is My Lady Disc thirty-six - A Man and His Music - Trilogy A Man and His Music A Man and His Music Part II A Man and His Music + Ella + Jobim Frank Sinatra - vocals Nancy Sinatra Frank Sinatra, Jr. Tina Sinatra Dean Martin Sammy Davis, Jr. Bing Crosby Antonio Carlos Jobim - vocals, guitar Count Basie and his Orchestra
Bossa nova is a style of Brazilian music, developed and popularized in the 1950s and 1960s and is today one of the best-known Brazilian music styles abroad. The phrase bossa nova means "new trend" or "new wave". A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s among young musicians and college students. In Brazil, the word "bossa" is old-fashioned slang for something, done with particular charm, natural flair or innate ability; as early as 1932, Noel Rosa used the word in a samba: "O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas." The exact origin of the term "bossa nova" remained unclear for many decades, according to some authors. Within the artistic beach culture of the late 1950s in Rio de Janeiro, the term "bossa" was used to refer to any new "trend" or "fashionable wave". In his book Bossa Nova, Brazilian author Ruy Castro asserts that "bossa" was in use in the 1950s by musicians as a word to characterize someone's knack for playing or singing idiosyncratically.
Castro claims that the term "bossa nova" might have first been used in public for a concert given in 1957 by the Grupo Universitário Hebraico do Brasil. The authorship of the term "bossa nova" is attributed to the then-young journalist Moyses Fuks, promoting the event; that group consisted of Sylvia Telles, Carlos Lyra, Nara Leão, Luiz Eça, Roberto Menescal, others. Mr. Fuks's description supported by most of the bossa nova members read "HOJE. SYLVIA TELLES E UM GRUPO BOSSA NOVA", since Sylvia Telles was the most famous musician in the group at that time. In 1959, Nara Leão participated in more than one embryonic display of bossa nova; these include the 1st Festival de Samba Session, conducted by the student union of Pontifícia Universidade Católica. This session was chaired by Carlos Diegues, a law student whom Leão married. Bossa nova is most performed on the nylon-string classical guitar, played with the fingers rather than with a pick, its purest form could be considered unaccompanied guitar with vocals, as created and exemplified by João Gilberto.
In larger, jazz-like arrangements for groups, there is always a guitar that plays the underlying rhythm. Gilberto took one of the several rhythmic layers from a samba ensemble the tamborim, applied it to the picking hand. According to Brazilian musician Paulo Bitencourt, João Gilberto, known for his eccentricity and obsessed by the idea of finding a new way of playing the guitar locked himself in the bathroom, where he played one and the same chord for many hours in a row; as in samba, the surdo plays an ostinato figure on the downbeat of beat one, the "ah" of beat one, the downbeat of beat two and the "ah" of beat two. The clave pattern sounds similar to the two-three or three-two son clave of Cuban styles such as mambo but is dissimilar in that the "two" side of the clave is pushed by an eighth note. Important in the percussion section for bossa nova is the cabasa, which plays a steady sixteenth-note pattern; these parts are adaptable to the drum set, which makes bossa nova a rather popular Brazilian style for drummers.
Certain other instrumentations and vocals are part of the structure of bossa nova: Bossa nova has at its core a rhythm based on samba. Samba feel originating in former African slave communities. Samba's emphasis on the second beat carries through to bossa nova. However, unlike samba, bossa nova doesn't have dance steps to accompany it; when played on the guitar, in a simple one-bar pattern, the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns contain a syncopation into the second measure. Overall, the rhythm has a "swaying" feel rather than the "swinging" feel of jazz; as bossa nova composer Carlos Lyra describes it in his song "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back". Bossa nova was influenced by the blues, but because the most famous bossa novas lack the 12-bar structure characteristic of classic blues, as well as the statement and rhyming resolution of lyrics typical of the genre, bossa nova's affinity with the blues passes unnoticed.
Aside from the guitar style, João Gilberto's other innovation was the projection of the singing voice. Prior to bossa nova, Brazilian singers employed brassy operatic styles. Now, the characteristic nasal vocal production of bossa nova is a peculiar trait of the caboclo folk tradition of northeastern Brazil; the lyrical themes found in bossa nova include women, longing, nature. Bossa Nova was apolitical; the musical lyrics of the late 1950s depicted the easy life of the middle to upper-class Brazilians, though the majority of the population was in the working class. However, in conjunction with political developments of the early 1960s, the popularity of bossa nova was eclipsed by Música popular brasileira, a musical genre that appeared around the mid-1960s, featuring lyrics that were more politically charged, referring explicitly to working class struggle. Luiz BonfáLuiz Bonfá Plays and Sings Bossa Nova Jazz Samba Encore! with Stan Getz Bob BrookmeyerTrombone Jazz Samba (recorded August 2