![[Connie with Joe Pasternak]](pasternak.jpg)
MGM motion picture producer Joe Pasternak presents Connie with MGM Records gold record marking the 1,000,000 sale of "Everybody's Somebody's Fool."
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Contents (entry date)
Editors Note: I recently found three "brand new" Connie Francis LPs at a used record store. All were in original shrink wrap (at least all were I thought) and two of the records were in immaculate condition and as clear as a CD. But one was not quite. Here is a discussion from a LP collector about the third LP:
The "shrink wrap" was not original -- this LP had been opened and played before. Dealers sometimes play games with records. Take Connie Francis' first LP for example. On the original release, the label was yellow -- MGM changed to the black label several years later. A dealer finds an original sleeve in fairly good condition but the record is shot? No problem, just insert the re-issue (it's often in better condition) and they put it up for sale as the "original." Been done many times in many places. Examine the shrink wrap, an amateur job will be loose. If anything an original would have tightened up with the years. In fact, the best thing a collector can do with an LP with the factory shrink still intact is to either slit it open, remove it completely or store it tight against another LPs. The original shrink will warp a record.
Many people say they have all the Connie Francis LPs. Now I don't want to spoil anyone's comments, but, it has been determined that it is impossible to have all the Connie Francis LPs. This finding is from extensive computer modeling and mathematical proofs that have been reviewed thoroughly by statistical analysis. A simple way of explaining how this is so can be done by using the Second Law of Thermodynamics, entropy, or the spontaneous change to the disorder. Because Miss Francis released so many LPs, tapes, and CDs, an exact count cannot be determined (these calculations do not include bootlegs). Therefore, a statistical approximation of the total number of albums is used, and it is this element of uncertainty that is proof that all the Connie Francis albums cannot be located in one place. You can always get closer to 100% but you will never get there. Bottom Line: There will always be more of Connie Francis. [for a continued discussion of this topic, see Sheer Impossibility near end of this page.]
[Editors note: This article came from the WPEN1996 interview with Connie Francis by Charlie Mills]
In the year 1960, MGM released the motion picture, Where The Boys Are, the first featured film for Connie Francis. How did Connie get the role in the motion picture? Film producer Joe Pasternak asked Connie to star in a new film he was producing. Joe founded such talents as Elizabeth Taylor, Judy Garland, Jane Powell, and others. However, Connie did not want to do movies. She wanted to record, do her foreign languages, travel all over the world, and Connie said she couldn't act.
Joe Pasternak met Connie Francis in California and gave her the script and a book, Where The Boys Are, and said that she could be another Judy Garland. The films Joe produced include Love Me or Leave Me with Doris Day and James Cagney, a film Connie said was magnificent. However, she just wasn't interested in making movies.
Then one day they had a meeting with her father. Connie and her dad were always arguing over everything. "A constant struggle." She said, "although usually he was right."
Her father said, "You're not doing this movie, they got a scene in this movie at the end of this movie where a girl is leaving a motel with a guy." Connie mentioned nobody will see anything.
"That's beside the point!" he said. So Connie decided, "Thats it! I'm doing the movie." And that is how Connie Francis accepted here first role as an actress because her dad didn't want her to do it.
The title song from the 1960 film had its own interesting story. Joe Pasternak was looking for a songwriter to write the title song. In the past he used Sammy Cahn, Jimmy Van Heusen, Paul Francis Webster, and others to write music for his films. But for this one Connie was right there with some advice.
She said to Joe Pasternak, "I know you've got these great writers whom I respect highly, but there is nobody who is going to write this song and make it a hit except my two friends from Brooklyn: Neal Sedaka and Howie Greenfield." Joe protested, "What are you hawkin' me for two kids from Brooklyn!?!"
Connie explained, "Neal Sedaka got Time Track from RCA Victory for recording the hit song, 'The Diaries'" But Joe stood firm, "I couldn't care less. Forget about it!"
Connie resigned, "Joe, I don't really want to do this movie." Joe then agreed, "Alright, have them write it." "But they must to have it here by Wednesday. That is when we are meeting to decide which of all the songs will be the title song."
Connie raced to the phone and said to Neal and Howie they got the title song for her first movie. But Howie was skeptical, "What kind of title is that? Who can write a song called Where The Boys Are?" Connie encouraged them, "C'mon Howie, c'mon Neal. You can write it. You're a great lyricist."
Howie Greenfield and Neal Sedaka got the song to Connie Francis and they had two Where The Boys Are, two different songs. Connie, Neal, and Howie loved their new song Where The Boys Are. They thought it was great. The other Where The Boys Are they hated. MGM picked the one they hated.
MGM motion picture producer Joe Pasternak presents Connie with MGM Records gold record marking the 1,000,000 sale of "Everybody's Somebody's Fool."
One thing about collecting Connie Francis, a record, advertised for a gross amount, is only worth what you are willing to pay for it. To one it may be worth several dollars, to another it may be worth hundreds... And in the same respect, one can also buy at a high price and later find the same thing for much less. Someone had a bid of $50.00 on a 45 once and before they were informed of winning it, found the same record for $2.00 in a used record store... Collecting can often be hit or miss, or get or regret.
The policy of the Connie Francis Fan Club is when in doubt, purchase it.
Another thing about collecting is to be aware that CDs are not permanent storage. They are estimated to retain their information for only about 20 years. Some estimates are as low as ten! Magnetic tape is not permanent either; lifetimes of information content is about 10 to 20 years. This has also become a BIG problem for computer-based data storage because there is NO permanent method of storing digital data. Since Connie Francis music is recorded on the same items as digital data, such as CDs, this is not good for archiving great art by Connie. However, LPs are great for longterm information storage.
The vinyl disc is the BEST for archiving music. These LPs, or records, are the 12 inch wide things that sit on a turning platter and goes round and round while a needle follows a groove with physical distortions that match the music. What this means is that YOU, the individual, the private collector, with your Connie Francis LPs have been designated as a critical and important resource of Connie Francis music. LPs are no longer sold brand new in stores (except for extremely rare circumstances)* so the only option are the "limited lifetime" CDs or tapes. Please treat your LPs with care by never laying them flat when not in use, carefully dust, and keep records in a cool location.
*This is no longer the case as the first five Connie Francis LPs are now on CD (See CD Review section part #3).
by Bee Curcio
October 4th, 5th & 6th, 1996 Harrah's Casino, Atlantic City, NJ
Connie walks in as usual, to the accompaniment of the orchestra's upbeat version of "WHO'S SORRY NOW." The crowd is standing and Connie, as elegant as ever, walks out greeting her fans with love and a heart over flowing with thanks. Tears fill my eyes as I watch this legend walk on stage, and as I yell to her, "We love you Connie," (I do at every show I attend), Connie replies, "I love you too." Connie received a standing ovation after every song she sang. Her humor brought the house down with laughter yet, when she sang the serious, heartfelt songs, you could hear a pin drop. Throughout her peformances it was evident; The most important thing to Connie was her audience. Each show was performed from the very depths of her heart, with as much love extending toward her audience as was being offered to her from us. After her show, Connie greets us with love and respect, as she always does. It was good to see some of her fan club members again. And Connie, tired as she was, still found the time to say hello to say who had the chance to greet her. There were those there who were meeting Connie for the first time. I remember a fan leaving, with a tear in her eye saying, "I still cannot believe I met Connie Francis." Connie was as gracious as ever.
I would like to thank some of the people who helped to make my weekend in Atlantic City so memorable; Connie's aunt Marie, Terry and Alan, Bob, Vickie, and her husband Art, Pat Niglio and his mom, and to my newly found friends, Karen and Flo, who gave me their un-deniable friendship. Everyone who, at such a hectic time, made me feel so wanted, thank you. But most of all, to you Connie. You were magnificent! And thank you for all the memories you have given me and many others. When you hear "We love you!" being yelled from the audience, comes straight from out hearts.
Now as I think about Connie's performance at Harrah's this October, memories of a New Years Day in 1958 are rekindled. My family lived in Corona NY. And like millions of other teenagers, I sat on the living room floor watching American Bandstand. My father and several members of his big band were sitting around the table wrapped up in a game of poker, mom was standing over the stove cooking. When Dick Clark mentioned the next singer and, (as we all now know history was made), Connie Francis began singing WHO'S SORRY NOW, my dad jumped up from his seat and yelled, "Now that's a hit!" He then pulled my dear mom away from the stove and they began doing the fox-trot to Connie's classic on-air broadcast. Every gig my dad did thereafter would include a Connie Francis song. While they were always dedicated to me, they were performed as a compliment to Connie Francis. As I listen to the great new CD, The Swinging Connie Francis, I believe I will do a little fox-trot myself.
It is difficult to express sufficiently, using words, the many wonderful memories Connie's music has given to me and my family. And I'm certain this is true for all of Connie's fans. What I can express is: The legend, and the memories, continue.
Bee Curcio
October 10, 1996
Editors Note: Here is an article someone sent to me regarding the sheer impossibility of anyone having ALL of Connie's recordings. I almost got started on this but I've backed off. I do enjoy listening to Connie sing and my little collection of only 34 records is fine for me.
Many years ago, standing back and looking at the 40 or 50 albums in my collection, I believed that I had all of Connie's records. After all, glancing at the back of one of MGM's publicity photographs and reading the back, I certainly had all of the LP's that were listed there. However, it wasn't long before I was introduced to a fan who had twice that amount. And then another fan who had more than the first had. And an entire new world of collecting was opened up before me. For years, writing dozens of letters a week to foreign record shops, my collection grew. In talking with other 'collectors,' it would be learned about "this particular item," released in, say Brazil only. Or "that record" released in Germany, Chili, Spain, or Russia only. Then there are the differences between stereo and mono releases; E/SE 4049 Second Hand Love, for instance can be considered (by a collector) as two complete releases. There are major differences in many of the recordings on this LP. There is an alternate version of Mack The Knife on the stereo LP E/SE 4248 All Time International Hits. The mono version is the standard recording. E/SE 4079 Country Music, Connie Style has differences, as does E/SE 4294 For Mama.
From a "hard core" collectors view point, each variety must be had. For instance, one track, Who's Sorry Now, besides being released in countless Countries, was also released on; 78 rpm, 33 1/3 (original and re-issue jackets), 45 rpm, EP, Disk jockey labels, and radio transcriptions which often contain live versions of the song. The album itself, MGM E-3686 was released in April 1958. And the track Who's Sorry Now, according to Ron Robert's 1975 discography, was released, counting 10" and 12", on no less than 46 albums. That was the KNOWN total in 1975! To even have ALL of the United States releases is a feat many knowledgeable fans are still trying to reach.
The blanket statement (usually made by a fan unaware of the complete picture) that one "has every one of her releases" is fantasy. The collection of mine while certainly large and containing most of the "unique" releases, is missing quite a lot of items. There are so many more than I know are out there.
Here's another classic example, that deals with a newer release. In a 1982 session where Connie recorded There's Still A Few Good Love Songs Left In Me. Do all the US fans have the US record? It's a tough one to find... It's also a song that Connie mastered, during this one session in Spanish, Portuguese, Japanese, German and Italian.
Have you wondered why Europe has so much of Connie Francis but here in the United States, her music is rarer than plutonium? The attitude of many people in the United States is if you are not on the top ten list, you're out. Americans receive tremendous amounts of advertisement saying they must buy something new all the time. American television programs are inundated with commercials, as compared to Germany for example that shows the entire program without commercials much like PBS broadcasts here.